Portland-based folk quartet Fruition is having a great year! The band is gearing up for their newest album, Labor Of Love, to be released on April 22nd on Randm Records. In celebration, the band recently debuted a live video of the album’s title track, “Labor Of Love,” exclusively via L4LM. You can read all about the album and the track here.Today, the band is doubling down on “Labor Of Love,” premiering an official music video for the soulful song. Watch below:
Over the last couple of weeks, the Newport Folk Festival has been rolling out all sorts of exciting acts to the already-sold-out 2016 installment. Of the latest is Del & Dawg, better known as bluegrass/newgrass professionals Del McCoury and David Grisman, as well as New Orleans’ Preservation Hall Jazz Band. The July 22-24 event is occupying Fort Adams State Park in Newport, Rhode Island for a weekend of folk-inspired musical bliss.Watch Roger Waters’ Unbelievable Newport Folk Festival Set With My Morning JacketThe lineup thus far is seriously impressive, including the triumphant return of Flight Of The Conchords, alongside national acts like Father John Misty, Edward Sharpe & The Magnetic Zeros, and Norah Jones, as well as St. Paul & The Broken Bones, Ray LaMontagne, Raury, Nathaniel Rateliff & The Night Sweats, and plenty of others. There are still announcements for all three days yet to be made, so stay tuned on the return of another great Newport Folk Festival!More information on the festival’s website. Newport Folk Festival 2016 LineupFriday, July 22Flight Of The Conchords, Ray LaMontagne, case/lang/veirs, St. Paul & The Broken Bones, The Staves, Fruit Bats, RaurySaturday, July 23Norah Jones, Father John Misty, Nathaniel Rateliff & The Night Sweats, Del & Dawg, Dave Simonett & Dave Carroll, Amy Helm, Songhoy Blues, Rayland Baxter, Ruby AmanfuSunday, July 24Edward Sharpe & The Magnetic Zeros, Glen Hansard, Preservation Hall Jazz Band, The Oh Hellos, Villagers, Son Little, Julien Baker, Joan Shelley[H/T JamBase]
On May 26th, 1926, one of most iconic musicians of all time came into the world: Miles Davis. Born to rare black middle class parents, Davis would grow from boy to adult through some of the nation’s hardest times, and his music would help an exhausted post war country regain its attitude of hope. His innovations caused seismic shifts in the music world, as trends like Bebop, Cool, Hard Bop, Blue, and Fusion sprung from his need to seek something beyond what he heard around him. Davis regularly went beyond his own boundaries, fearlessly looking for the next wave. Sadly, a closer look at his life reveals he was likely searching for anything he could control in the midst of a runaway life.Davis wasn’t one for bending his notes, keeping vibrato to a minimum for most of his career. His playing was so captivating because it was so honest. You were seeing directly into him. The rawness, the energy masterfully restrained into short, staccato flights of fancy held the jazz community’s attention for decades. He started playing live during World War II, when he was still in high school. Though he would himself inspire many devoted fans, he idolized Charlie Parker, and in the fall of 1944, he finally managed a jam session with him and the some of the founding fathers of the Bebop movement. The uptempo attitude, sunny sky songs caused a national stir, and many stars were minted. Not one to rest on helping create an entire wave of musical style, he soon went on to help bring around the birth of cool jazz. The cool jazz sound was an experiment to make the music a voice its own, with an emphasis on the organic and flowing rhythms, even in the solos. Davis went abroad in the early fifties. While he had faced institutional racism in America, he found himself a well regarded genius and was treated accordingly in France. He had a love affair with the country itself, which ended tragically when he returned to New York and fell into a heroin addiction. The legend goes that he locked himself away for protracted periods, going through a painful and prolonged withdrawal. It’s either amazing or tragic that he continued to perform through all of this. Losing his voice after the strain of an operation, he gained a raspy tone, that coupled with his haunting playing created an other-worldly air about him. In his musical journeys around the world, he fell in love with modal forms of song structure, basing lengthy music passages around long sustained notes and tones, and expanded his free flow solos into entirely imporvised pieces, taking the entire band along for the ride.He was a rare player in all accounts. A musician’s musician who also also held the public’s attention. Though the critical acclaim he fet he deserved was lauded on contemporaries, the players who took the stage with him is a parade of names etched into the walls of jazz History. The aforementioned Charlie Parker, John Coltrane, Gil Evans, Herbie Hancock, Wayne Shorter, Thelonius Monk, Sonny Rollins, Art Taylor, Julian “Cannonball” Adderley, Bill Evans, Bennie Maupin, John McLaughlin to name just a few. He was as proficient at recruiting existing greats as discovering diamonds in the rough. His playing didn’t just elevate those around them, it inspired them to play beyond themselves.In 1959, Miles Davis released the highest selling jazz album of all time, Kind Of Blue, with pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley filling out his band. Employing his adapted modal techniques, the compositions were roughly outlined, and each player given a range of tone and scale that they were free to solo within. His choice in musicians was an inspired one, as each lived up to the trust placed in them. The five songs that comprised the two sides of the album, “So What“, “Freddie Freeloader“, “Blue In Green“, “All Blues“, and “Flamenco Sketches” were something of a culmination of all that Davis had dabbled in up to this point, and the freshness of the sound, the adeptness of the instrumentalists and the plain honesty of the voice caused the album to transcend considerations of race, taste and social standing. It was art, and it was for everyone. In 2009, Congress made possibly the most unneeded, though completely deserved, declaration, proclaiming the album a national treasure.“So What”As the sixties led to an explosion of psychedelia and funk in a response to a national unrest over continuing racial tensions and the long running war in Vietnam, Davis found his attention wandering yet again. He formed a blended band of acoustic and instruments, and led a funk oriented group that produced challenging, dense funk with compositions overflowing with jamming tangents and free form soul. He played rock festivals and found a ready made audience, eager for something to stretch the boundaries that had defined bands like Parliament–Funkadelic and Sly & The Family Stone. His work of this period became known as “Space Music“, a label he did not fight. He, as always, used his music to express his emotion, and again, like always, left a feeling of fury and abandon echoing in the minds of his listeners long after the last notes were played. Isle Of Wight Festival, 1970As the seventies wore on, he honed his fusion of rock and jazz, releasing albums like Dark Magus, Agharta, and Pangaea which broke loose from the confines of the studio. With compositions both rock and jazz, the trio served as almost a musical Rosetta Stone, a secret code to an all new language that Davis was conceiving on the fly. Challenged audiences were divided, with some instantly swept away in the sonic maelstrom, while others found the aggressive variances of tone and breakneck pace shifts occasionally bordering on atonal to be more than they could handle. Though his music was breaking bonds, his mind was being slowly locked down, as he faced a deteriorating mental state and a devolution into near hermitage when not onstage. His work in the eighties took a turn for the more superficial, as his own years of ravaged living had taken their toll. His newer material did not satisfy new audiences, though, a true iconoclast to the end, he refused repeated, reportedly huge offers to re-embrace his older catalog. He remained true to his belief that, as an artist, he should always be exploring, even if his steps led him down a path no one was willing to follow him on.His relevance superceded genre. He wrote a songbook that stands up to anyone who ever lived, and played his instrument with an eloquence rare beyond value. He was posthumously inducted into the Rock And Roll Hall Of Fame, and for his influence of the very language of improvisational music it was an honor well deserved. The list of musicians who would readily tell you how much of an influence Miles’ sound has had on them is likely longer than the amount of words in every column and blurb posted on this site today…and probably the entire week. As under his masterful control his sound was…that’s how out of control his personal life became. The sad tales of addiction and the mental difficulties he went through in fighting them are oft and far better told than I could muster here. He was a world wide phenomenon. He was an ambassador of sound, telling tales of anger and anguish, hope and joy with a voice so unique that there was no mistaking it. While it would be over stating that any fan of improvisational music further explored by bands like the Grateful Dead, the Allman Brothers and Phish should delve into the works of Miles Davis, it is surely true that the music they love was influenced by the work of the man. To celebrate this great man’s life, sit back and let the music of the following video, “Around The Midnight,” wash over you. You’ll be glad you did.
It’s been ten long years since Tool has officially released any new music, though a new album has been discussed for months by the band. Today, we have yet another glimpse inside this possible new release, though it comes from a friend of the band: Buzz Osborne. The Melvins frontman wrote a piece for Team Rock highlighting the Melvins’ best albums, and mentioned a bit of gossip that he heard from Tool’s own Adam Jones.According to Osborne, “Bands like Tool obviously spend about six months on their albums, and they’ve spent about ten years putting together the new one. And they haven’t even started recording yet, but Adam [Jones, Tool guitarist] told me the shortest song they’ve been working on is twelve minutes long.”Wow! Whatever Tool has in store, it seems like it will be truly worth the wait.[H/T Team Rock]
AC/DC fans have had a rough go of things as of late, as the band has lost a handful of their core members over the last few years.First it was founding member, rhythm guitarist Malcolm Young, who was unfortunately diagnosed with dementia back in 2014. Then it was drummer Phil Rudd, who was arrested in New Zealand over murder threats. Most recently it was lead singer Brian Johnson, who’s hearing issues had progressed to the point where touring was impossible for him. Now, it seems that bassist Cliff Williams is the next to leave the group. Unlike the afore mentioned trio of musicians, Williams came to the decision on his own free will, saying, “It’s been what I’ve known for the past 40 years, but after this tour I’m backing off of touring and recording… Losing Malcolm [Young], the thing with Phil [Rudd] and now with Brian [Johnson], it’s a changed animal. I feel in my gut it’s the right thing.”The quote comes in an interview with Gulfshore Life, where Williams says, “When you start out, you kind of hope for success… That’s what you are working for. But you never really know. It’s been surreal, really.” The bassist has been with AC/DC since 1978, recording a total of 11 consecutive albums with them. With his departure, only Angus Young remains at the band’s core.With this news, it seems that AC/DC’s Rock or Bust tour may be their last ever. We salute you.
Temple Of The Dog returned to the Tower Theatre in Philadelphia last night for their second show together on their first-ever tour. The 90’s grunge supergroup features Chris Cornell of Soundgarden and Stone Gossard, Jeff Ament, Mike McCready, and Matt Cameron of Pearl Jam. The setlist was almost exactly the same as the first night, featuring plenty of originals from their self-titled debut album, their recently recently released EP, Temple of the Dog pre-cursor Mother Love Bone, and a few choice covers by David Bowie, Led Zeppelin, Black Sabbath and The Cure, and more. To make the night unique, Temple of the Dog threw in some extra surprises, including a cover of Mad Season‘s “River Of Deceit.” Watch the video below via YouTube user mfc172:The night’s real highlight, in terms of rarity, was the debut of a never-before-heard Chris Cornell original “Missing.” As Cornell explained prior to the debut, the song dates back to the early 90s, around the time when he wrote “Spoonman” and “Seasons.” Watch fan-shot video of the performance below via YouTube user Jim Powers:You can see the full setlist below via setlist.fm. Temple Of The Dog continues their reunion tour continues tomorrow at Madison Square Garden in New York City.
The lineup for the 2017 Wanee Music Festival is in! Taking place from April 20-22 at the Spirit of Suwannee Music Park, the festival has packed their lineup with a ton of jam scene favorites, including headliners Bob Weir, Widespread Panic and the Trey Anastasio Band.The performing artist lineup appeared on the Wanee website today, and features over a dozen exciting entries. Gov’t Mule, Dark Star Orchestra, JJ Grey & Mofro, Les Brers (ft. Butch Trucks & Jaimoe), Jaimoe’s Jasssz Band, Leftover Salmon (performing the music of Neil Young), The Greyboy Allstars, Blackberry Smoke, Matisyahu, Keller Williams’ Grateful Grass, Papadosio, Turkuaz, Pink Talking Fu – Music of David Bowie & Prince, DJ Logic, Kung Fu, Pink Talking Fish, Bobby Lee Rodgers Trio, The Marcus King Band, The Yeti Trio and Brothers and Sister Band are all featured on the 2017 lineup.You can head to the Wanee website for tickets and more information about their exciting festival!Update: It appears that the artist lineup posted on the Wanee website was actually an accidental leak, and has since been removed.
This year’s Disc Jam Music Festival right around the corner is set to take place from June 8th-11th in Stephentown, NY. In preparation of the celebration, Live For Live Music has created a special Spotify playlist highlighting many of the 60+ acts featured on the lineup.Take a listen to Break Science‘s “Brain Reaction” (ft. Redman & Lettuce), “Nightswimming” by Turkuaz, the latest single from The Motet titled “Supernova,” the Manic Focus ft. GRiZ track “Life Goes On,” TAUK‘s “Program Select,” Dopapod‘s “Present Ghosts,” Aqueous‘ “Staring Into the Sun” from their latest live release Element Pt. I, and a plethora of other artists that are on the full lineup.Disc Jam 2017: From The Little Festival That Could To A Massive Summer AffairThis 40-song playlist is full of great tracks that deserves a listen, including Electric Beethoven, Ghost-Note, Congo Sanchez, Roots of Creation, lespecial, Swift Technique, Wild Adriatic, Teddy Midnight, Spiritual Rez, Giant Panda Guerrilla Dub Squad, Consider the Source, and a number of acts on the rise and ready to make their way into your listening habitats. Press play below, sit back and enjoy!Tickets for Disc Jam are currently on-sale and can be purchased at the festival’s website. For event updates and additional information, join the Facebook Event page, and check out the full 2017 Disc Jam Music Festival lineup below![cover photo courtesy of Sarah Bourque] Enter To Win A Pair Of Passes + Exclusive Festival Merch!,Enter To Win A Pair Of Passes + Exclusive Festival Merch!
Bill Withers came out of the woodworks this week with his first release since 1985! The legendary singer/songwriter, who’s recordings of “Ain’t No Sunshine,” “Lean On Me,” “Lovely Day,” and “Use Me” will forever live in rotation, recorded a song for the Little Jimmy Dickens tribute album, The Rhinestone Hillbilly. Withers recorded a version of Dickens’ “(You’ve Been Quite A Doll) Raggedy Ann” for the compilation, which is available now on Bandcamp.Listen to the recording below:<a href=”http://rhinestonehillbilly.bandcamp.com/album/the-rhinestone-hillbilly”>The Rhinestone Hillbilly by Little Jimmy Dickens Tribute</a>Withers’ cover appears on the 16-track album, alongside Kathy Mattea, Charlie McCoy, Tim O’Brien, Connie Smith and more. A who’s-who of country, Americana and bluegrass luminaries celebrate the music of “little but loud” hillbilly hero Little Jimmy Dickens on The Rhinestone Hillbilly. Like Little Jimmy, who was inducted into the WVMHoF in 2007, all of the performers are proud of their long-standing connections to the Mountain State. More information is available here.
On Tuesday, HBO premiered the teaser trailer for their upcoming David Bowie documentary, David Bowie: The Last Five Years, which focuses on the particularly fertile years of creativity leading up to his death on January 10th, 2016 following a largely secret 18-month battle with liver cancer. The film will premiere on HBO and its various mobile platforms on January 8th, the day on which the iconoclastic artist would have turned 71 years old.However, while Bowie was battling cancer, and in the years right before his diagnosis, he had ramped up his creative production considerably. In his last five years on Earth, Bowie released two albums, The Next Day and Blackstar (released just days before his death, featuring eerily prophetic themes about death and the after-life) as well as oversaw the creation his stage musical, Lazarus. HBO acquired the U.S. rights to the documentary from the BBC.In the newly released teaser trailer, you can hear Bowie speak about the concept of creativity and his approach to exploring it. As he explains, “Always go a little further into the water than you feel you’re capable of being in and when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting.”You can watch the new trailer for David Bowie: The Last Five Years, below, courtesy of Billboard:David Bowie: The Last Five Years, directed and produced by Francis Whately, follows Whately’s 2013 documentary, David Bowie: Five Years which covered Bowie’s career from 1970 to 1975 in addition to taking its title from the opening song on Bowie’s 1972 classic, The Rise and Fall of Ziggy Stardust and the Spiders From Mars.For further information about the soon-to-be-released new David Bowie documentary on HBO, or to set a reminder about its release date, head to the network’s website.[h/t – Billboard]