“Me And Those Dreamin’ Eyes Of Mine” (Two Way Street Mix) Neo-soul visionary D’Angelo is giving his 1995 debut, Brown Sugar, some extra love and affection in the form of a deluxe reissue, which is set to be released on August 25th via Virgin/UMe. Upon its initial release, Brown Sugar was only a modest commercial success, peaking at Number 22 on the Billboard 200 and spawning four singles: the title track, “Cruisin’,” “Lady” and “Me and Those Dreamin’ Eyes of Mine.” However, the album has attained vaulted status in the years that followed, becoming a sort of high water mark for the R&B renaissance in the mid- to late-90’s. His new work has been few and far between since then, as he has released just two more albums: Voodoo (2000) and Black Messiah (2014).With the relatively scant release of new studio material from D’Angelo over the past two decades, it’s safe to say that many are stoked to check out the upcoming rerelease of his debut album. The reissue, prepped in 2-CD and digital formats, features 21 rare tracks, including previously issued remixes, instrumentals, and a cappella versions. To celebrate the upcoming album, D’Angelo released three rare remixes from the deluxe edition of the original release. The “Brown Sugar” (Incognito Molasses Remix), “Cruisin’” (Who’s Fooling Who Mix), and “Me And Those Dreamin’ Eyes Of Mine” (Two Way Street Mix) were all sold as 12-inch singles after the original release of Brown Sugar, and have now been remastered for our listening pleasure. You can listen to these three rare remixes of tracks off Brown Sugar below.“Cruisin’” (Who’s Fooling Who Mix)“Brown Sugar” (Incognito Molasses Remix) The deluxe edition of Brown Sugar comes in a digipak with a 20-page booklet boasting rare photographs, lyrics and author-filmmaker Nelson George‘s essay about the album’s innovative, influential hybrid of gospel, soul, funk and hip-hop despite the fact that it was, incredibly, D’Angelo’s first-ever album. As the LP’s co-producer Bob Power claims in the liner notes, “[He] was one of those artists that came not just fully formed, but truly genre-bending; genre-creating is really more like it.”You can see a full list of the Brown Sugar deluxe reissue’s contents below. For more information, head to D’Angelo’s website.D’Angelo: Brown Sugar (Deluxe Edition) Contents:CD 1 (Remastered album with bonus tracks)1. “Brown Sugar”2. “Alright”3. “Jonz In My Bonz”4. “Me And Those Dreamin’ Eyes Of Mine”5. “Sh*t, Damn, Motherf*cker”6. “Smooth”7. “Cruisin’”8. “When We Get By”9. “Lady”10. “Higher”Bonus Tracks11. “Brown Sugar”12. “Me And Those Dreamin’ Eyes Of Mine” A Cappella (released on promotional 12” single)13. “Brown Sugar” Instrumental (released on 12” single)14. “Lady” Just Tha Beat Mix Instrumental w/Chorus (Mixed by DJ Premier; released on CD Maxi-Single)15. “Brown Sugar” Alternate Version (released on 12” single)CD 2 (More Sugar)1. “Brown Sugar” King Tech Remix feat. Kool G. Rap (released on 12” promotional single)2. “Me And Those Dreamin’ Eyes Of Mine Def Squad Remix feat. Redman (Remixed by Erick Sermon for Funk Lord Productions; released on 12” single)3. “Cruisin’” Cut The Sax Remix (Remix by King Tech; Released on 12” single)4. “Lady” Just Tha Beat Mix/featuring AZ (Remixed by DJ Premier for Works of Mart Productions, Inc.; released on CD Maxi-Single)5. “Brown Sugar” Soul Inside 808 Mix (Mix by DJ Dodge; released on U.K. 12” single)6. “Me And Those Dreamin’ Eyes Of Mine” Two Way Street Mix (Remixed by DJ Premier for Works of Mart Productions, Inc.; released on promotional 12” single)7. “Cruisin’” Dallas Austin Remix (released on 12” single)8. “Lady” 2B3 Shake Dat Ass Mix (Remix produced by Neville Thomas and Pule Pheto for 2B3 Productions; released on U.K. CD Maxi-Single)9. “Brown Sugar” Incognito Molasses Remix (released on “She’s Always In My Hair” promotional 12” single)10. “Me And Those Dreamin’ Eyes Of Mine” Dreamy Remix (Remixed by Erick Sermon for Funk Lord Productions; released on promotional 12” single)11. “Cruisin’” Wet Remix (released on CD single)12. “Brown Sugar” Dollar Bag Mix (released on U.K. 12” single)13. “Cruisin’” God Made Me Funky Remix (released on promotional 12” single)14. “Brown Sugar” CJ Mackintosh Remix (Additional production and Remix by CJ Mackintosh; released on the various artists CD collection Nu Classic Soul)15. “Lady” CJ Mackintosh Mix Radio Edit (Additional production and Remix by CJ Mackintosh; released on U.K. CD Maxi-Single)16. “Cruisin” Who’s Fooling Who Mix (released on promotional 12” single)[H/T Rolling Stone]
[Photo: B.a.D. Photography] Last night, Adam Deitch of Lettuce and Break Science fame tore up Cervantes’ Other Side in Denver, Colorado, with a special DJ set for the venue’s weekly electronic series with Euphonic Conceptions dubbed Re:Search Wednesdays. This week, Re:Search Wednesdays was a particularly massive dual-venue affair, also tapping Jaw Gems, Ganz, Um.., Mikey Thunder, and JuBee for the lineup and expanding into the larger, connected venue next door, Cervantes’ Masterpiece Ballroom. In a surprise twist, for Deitch’s show-closing performance at Cervantes’ Other Side, the famed drummer and producer was joined by fellow bandmates from Lettuce and Break Science in addition to members from Jaw Gems and more, making for an all-star super jam to close out the night.GRiZ And Pretty Lights Surprise 400-Person Room In Denver By Sitting In With Supervision [Watch]Deitch’s performance started out as a more standard DJ set, with the Lettuce drummer on-stage solo and laying out laid-back, hip-hop–inspired beats to kick off his heater of a set. As the night progressed, a number of friends joined him on stage, with his performance eventually transforming into a massive super jam. Adam Deitch has previously called Jaw Gems “the future” and thinks that they “have the coolest sound in music,” and luckily, the boys from the Portland, Maine-based electronic live band Jaw Gems were already on hand for their own set earlier in the evening. With Deitch stationed behind the drum kit, members of Jaw Gems were also joined by Deitch’s Lettuce bandmates, bassist Erick “Jesus” Coomes and the Shady Horns, made up of trumpeter Eric “Benny” Bloom and Ryan Zoidis. Rounding out the crew was local Colorado rapper and singer JuBee, who also also serves as the host for Re:Search Wednesdays, and Deitch’s other-half in Break Science, keys player Borahm Lee.Lettuce Announces New Live Tribute Album To Miles Davis, Shares First TrackYou can check out videos of Adam Deitch’s DJ set and super jam last night at the intimate 400-person venue below.
Lettuce has released a new live album today, Witches Stew, appropriately on Friday the 13th. The album celebrates the late great Miles Davis, one of Lettuce’s biggest and most beloved influences, in this new release–a nod to his 1970 Bitches Brew. This collection of seven songs, handpicked by the band, was recorded at the 2016 Catskill Chill in Lakewood, PA. Filled with dynamic synths, intoxicating horns, and a psychedelic flare, Witches Stew is crafted to satisfy both jazz fans and Lettuce fans alike. Listen below:The band recently announced a 3-night New Year’s Eve residency at New York City’s Brooklyn Bowl from December 29th – 31st. Tickets are on-sale now. Following the release of their Mt Crushmore EP earlier this year, the band embarked on a massive tour that will continue until the end of the year. Full routing below and for all ticket information, please head to the band’s website.LETTUCE TOUR DATES:October 20 El Prado, NM @ Taos Mesa BrewingOctober 21 Denver, CO @ Fillmore AuditoriumOctober 22 Lincoln, NE @ Bourbon TheatreOctober 24 Lexington, KY @ Manchester Music HallOctober 25 Birmingham, AL @ Avondale Brewing CompanyOctober 26-27 Live Oak, FL @ Suwannee Hulaween FestivalOctober 28 Wilmington, NC @ Greenfield Lake AmphitheaterOctober 29 Raleigh, NC @ The RitzOctober 31 Asheville, NC @ New Mountain AmphitheaterDecember 29 Brooklyn, NY @ Brooklyn BowlDecember 30 Brooklyn, NY @ Brooklyn BowlDecember 31 Brooklyn, NY @ Brooklyn Bowl
Doctor Brown’s is a popular bar and live music venue in Middlesbrough, England. Recently, the news broke that the establishment has a formal ban on female-fronted bands—a ban that was put in place by the female manager of the venue, Paula Rees. To justify the ban, Rees insists Doctor Brown’s clientele refuse to see female-fronted bands because women “can’t sing heavy rock.”Rees has defended the controversial and sexist ban to The Northern Echo, insisting that “it’s nothing to do with me. It’s the pub’s regulars who come in every week. They won’t come in if there’s a female singer.” Rather, the ban, in her eyes, is strictly business: “We had female singers on in the past and customers just didn’t like it—we’re a rock bar and they don’t think that women should sing male rock songs.” She continued, “If we put a poster up and our regulars know there’s a woman in the band, they won’t give them a chance – they’re my bread and butter and we can’t risk nobody coming in.”Hannah Sowerby, a local singer for Revenant and Syndicate 66, has previously had gigs booked at Doctor Brown’s. However, once the venue found out the two bands were fronted by a woman, the gigs were canceled. As she told The Northern Echo, “I haven’t been allowed to play because I’m female, despite the fact my band can draw a crowd.” She continues, “You wouldn’t get people saying they don’t like male bands because not all male singers are the same—just like not all female singers are the same. … It is a sexist attitude from the regulars and there’s no excuse for it in 2017, you’d think we’d be past this by now.”However, Doctor Brown’s will host a band with a female singer next year, and Rees is considering booking female-fronted bands that can guarantee a large crowd. Despite this, Rees still is insistent that as a rule, the policy banning female-fronted bands will stay.[H/T The Northern Echo; Photo: Gazette]
On Friday night, Phish continued their big year at Madison Square Garden with the second performance of their second run at the Manhattan arena in 2017. The first, of course, was the Baker’s Dozen–their historic run of 13 shows over 17 summer days centered around nightly donut-flavored themes. We’re now halfway through New Year’s run, and so far the Phishmas festivities have had an entirely distinct feel from this summer. Maybe it’s the oppressively cold weather. Maybe it’s the “flavor”-less shows. Maybe it’s the fact that, with the fantastic-in-every-imaginable-way summer residency still so fresh in everyone’s mind, the bar has been set impossibly high for MSG Reprise 2017.To put in simply, these first two shows, while certainly not devoid of worthy highlights, are just not the same as the Baker’s Dozen. And that’s OK–if every show was “special,” then the truly special shows would just be drops in the ocean. Each of the songs played over this run’s first two nights was also played at this summer’s residency, and there’s been no reference to Phish’s summer spoils or the Baker’s Dozen “championship banner” that now looms large over the cavernous confines of The Garden. However, Chris Kuroda‘s new toys are clearly pulling focus to the jumbo-tron, casting colors along the ceiling and the crowd in a circle at half court. New Year’s looms, and lest we forget: this may not be the Baker’s Dozen anymore, but the Universe is still, most definitely, a donut, and it feels as though the stage is being set for a circular spectacle in the center of the Garden come the 31st. Maybe we’re not done with donuts in 2017 after all…Phish got the show on the road with a rare “Cavern” opener, marking just the second time the encore/closer staple has opened a show in the 3.0 era. After a clunky start, the A Picture of Nectar rocker provided an energy spike to start the night, Page McConnell asserting himself as the Chairman of the “Cavern” with jagged-edged funk organ jabs. Off to the races…Watch Phish’s show-opening “Cavern” below via LivePhish:“Blaze On” got the call in the two-spot, stretching out past 12 minutes with a Baker’s Dozen-reminiscent, slinky “cocktail lounge” groove, once again highlighted by Page. The call also ensured that the song won’t be a central piece of the New Year’s countdown for a third year in a row. After a long pause to discuss, the band queued up “555”, prompting a noticeable contingent to “make an escape when it arrived” and hit the bathrooms and the beer lines. Those who hustled were able to make it back for some more dark, dank Page and Mike Gordon-led groove toward the end of the song (which has still yet to truly break out of the box, despite feeling like a potential jam vehicle since its debut on Halloween 2013).Big Boat‘s Vida Blue-like “I Always Wanted It This Way” came next, followed by “Martian Monster”, letting the band (and Kuroda) take all their new tools a spin–from Star Wars droid-like bleeps, to grungy bass tones, to a brilliantly realized light show projected against the crowd behind the stage.After a notably long pause built significant suspense, the “Heavy Things” that followed didn’t feel like a particularly exciting choice. However, it was certainly well-played, and even featured a bonus “Leo” solo for the runaway Set One MVP (honorable mention: Mike’s pants). Another long pause followed, but this time it yielded a much more exciting choice: a run through the highly sought-after “Destiny Unbound”, which netted a bit of bouncing Type I improv. “Ocelot” slouched in next, reaching some strong guitar peaks from Trey Anastasio as McConnell and Gordon continued to shoulder much of the heavy lifting. A relatively conservative, fun-as-usual “Walls of the Cave” brought set one to a close, bookending the set with geological references.The first frame on night two was a mixed bag. There was a lot to like in terms of sonic tone, though the song selection gave the set an unfortunately stop-start feel in terms of crowd energy. But hey, that’s how it goes. They can’t all be perfect. On to set two…After returning to the stage and easing into an ambiguous pulse, the band dropped into “Sand”. The funky vehicle got a decent dose of dark jamming, but wound up serving as a mere appetizer to the real improvisational centerpiece of the show, “Chalkdust Torture”. The 20+ minute jaunt through the classic Phish anthem had a bit of everything, from big white-light Trey peaks, to meaty Mike drops, to Martian Monster-like swells. The jam is surely worth a re-listen, and will no doubt be compared to the other top-notch 2017 MSG “Chalkdust Torture”, for the foreseeable an unfamiliar concept in the world of Phish.Watch the second set-opening “Sand” below via LivePhish:The unfinished “Chalkdust” eventually took a turn into a sincerely welcome, sexy “Ghost” jam. A Mike-led groove pushed through into sunny major key improv before breaking down into atonal engine revs and 3/4-capacity Mike bombs draped in a pool of purples and greens from CK5.Just as the jam was beginning to settle in, Trey pulled the ol’ ripcord, kicking into “Backwards Down The Number Line”. The Joy tune gets some flack from fans for its ability to take the wind out of a jam’s sails late in a set, and you could nearly hear the collective exhale as the tune did just that. However, as is the case with most “Number Lines”, any early-song whining was silenced by the soaring Type-1 jam that came out of it. A quick run through “Simple” came next, giving the crowd a chance to scream for the grand skyscrapers that surround the venue, before a particularly dark, evil, melt-y “Split Open And Melt” brought the set to a close. A typically-energetic “Julius” served as the encore, officially sending New Year’s Run into “halftime.”People will surely have differing opinions about this show. This particular fan felt that it took a step back, momentum-wise, from night one. But that’s not to say there wasn’t plenty of fine Phish served at the Garden on night 2. “Blaze On”, “I Always Wanted It This Way”, “Martian Monster”, “Ocelot”, “Sand” > “Chalkdust” > “Ghost” and “Split” are all worth revisiting. That’s just how it goes with 2017 Phish. With the thoroughly baffling display they put on at the Garden throughout their summer residency, expectations are at an all time high. And while some shows, inherently, will have to fall to the bottom of the pile, the fact that many people preferred this show to night 1 is a testament to the historically high level of play we’re experiencing from Phish in 2017.Two more shows to go. See you tonight for night three!SETLIST: Phish | Madison Square Garden New York, NY | 12/29/17SET 1: Cavern > Blaze On, 555, I Always Wanted It This Way > Martian Monster, Heavy Things, Destiny Unbound, Ocelot, Walls of the CaveSET 2: Sand > Chalk Dust Torture > Ghost > Backwards Down the Number Line > Simple > Split Open and MeltENCORE: Julius Unfinished
4. TurkuazTurkuaz has been on a tear recently, and the group packed the stage of the Stardust Theater for their late-night set. Dressed to the nines and beyond tight as always, the band invited up former tourmate, Joe Tatton from The New Mastersounds, as well as jazz saxophonist Skerik. Stand out moments included the group’s take on Sly & The Family Stones’ “Babies Makin’ Babies” led by saxophonist and vocalist Josh Schwartz.5. DumpstaphunkIvan Neville certainly got a lot of performances in yesterday, with a nighttime Dumpstaphunk set following his solo acoustic Atrium show. During their show, the group welcomed up Nigel Hall, Maurice “Mo Betta” Brown, Greg Boyer, and more to help assist on a number of originals and funk-fueled covers. Standouts of the set included the group’s high-energy rendition of their original tune, “Turn This Thing Around”. 6. Eddie Roberts Jazz NightIn the Bliss Lounge on Saturday night, The New Mastersounds’ guitarist Eddied Roberts, was tasked with assembling an all-star crew for a jazz jam. Roberts certainly rose to the occasion, using his work with Green Is Beautiful, his tribute to prolific jazz-funk fusion guitarist Grant Green, to help build out the set. While many of the former jazz jam sets this week have loosely used the label “jazz,” instead frequently drifting more towards R&B or funk, Roberts went a more traditional route. His rotating cast member of musicians included the likes of his fellow New Mastersound Joe Tatton, as well as Mike Olmos, Chris Stillwell, and more.[photo: Jam Cruise Facebook] On Wednesday, January 17th, Jam Cruise 16 set sail from Miami, beginning a five-day musical excursion that will detour through Central America and the Carribean before returning to port on January 22nd. Following Friday night’s massive festivities, following a quick stop in The Grand Cayman Islands, Jam Cruise began the journey back to Miami.Mid-afternoon, after all the cruisers returned to the ship from The Grand Cayman Islands, Con Brio kicked the musical madness off with an energized sail-away set. From there, Jam Cruise offered up sets by Karl Denson’s Tiny Universe, Dumpstaphunk, Keller Williams, Pigeons Playing Ping Pong, Aqueous, and more. Closing out the night, Dan Lebowitz hosted a late-night yacht rock-themed jam session, which saw him collaborate with Jen Hartswick, Natalie Cressman, Shira Elias from Turkuaz, Simon Allen from The New Mastersounds, Ziek McCarter from Con Brio, and more.With three or four sets of music running simultaneously throughout the night and into the early morning, it was impossible to catch everything. However, here’s a list of six of our favorite moments from Saturday, day 4, of Jam Cruise 2018. Enjoy, and stay tuned for more coverage of Jam Cruise before it heads back to port on Monday!1. Andy Frasco & The U.N. Andy Frasco might be the funniest man on the boat. During his set in the Spinnaker Lounge on Saturday, he had total command over the packed audience, cracking hilarious jokes throughout (“Is anyone else pissed you can’t watch porn on the cruise? I’m an adult!”), orchestrating a number of musical “battles,” and crowd surfing multiple times.“It’s like a fucking variety show up here,” he said during the show before inviting a horn player from Naughty Professor to join him and the other dozen musicians he had on stage. His performance also saw him welcome Marcus King, Holly Bowling, and members of Steel Pulse, The Main Squeeze, Antibalas, and more. Highlights of the set were his cover of Biz Markie’s “Just A Friend” and the group’s explosive set-ending rendition of The Talking Heads’ “Burning Down The House”.2. Ivan Neville Atrium SetIvan Neville’s Atrium set was one of the biggest highlights of Jam Cruise day 4. During his soulful set that kicked off the festivities for the day, he invited numerous guests to join him, including the likes of George Porter Jr., Nick Daniels III, Nigel Hall, Tony Hall, Eric “Benny” Bloom, Alvin Ford Jr., Shira Elias, and Erica Falls. His set ranged from originals like “Money Talks” and “Not Just Another Girl” to an expansive set-ending run of covers. Closing out his set, he invited his guests to help him perform The Beatles’ “Imagine”, Tom Petty’s “Free Fallin’”, Sly & The Family Stone’s “Everyday People”, and more. 3. Karl Denson’s Tiny UniverseOn the pool deck’s main stage, Karl Denson’s Tiny Universe drew huge crowds with his tribute set to the Allman Brothers Band. In recent months, Karl Denson’s Tiny Universe has been promoting a number of “Eat A Bunch Of Peaches” shows across the country, and it’s clear why. The musicians on stage looked like they were having a blast as they offered up takes on “Ain’t Wastin’ Time No More”, “Whippin’ Post”, and a blissful set-closing rendition of “Jessica”. During their set, Karl Denson also welcomed Marcus King to join him as well as trombonist Greg Boyer.
The Disco Biscuits concluded their three-night New England run last night in Portland, ME at the State Theatre. Comfortable from playing the same venue the night before, The Disco Biscuits took their time with a five-song first set, and extended the second set with a massive “House Dog Party Favor”, that sandwiched an “Orche Theme”, before concluding the set with “Morph Dusseldorf”. The band returned for a late-night “Shelby Rose” encore, despite any time constraints that may or may not have been in place. Watch the full show below, courtesy of the band.Next on the band’s calendar is a three-night run at Philadelphia’s Fillmore on April 19, 20, and 21, before the jamtronica pioneers descend upon Colorado for their four-night Bisco Inferno extravaganza, which will conclude at Red Rocks Amphitheatre on May 27 with Spafford and Organ Freeman. Later in the summer, the Disco Biscuits will return to Montage Mountain in Scranton, PA for their own Camp Bisco. For more information on upcoming Disco Biscuits dates, head to the band’s website.Check out a gallery of photos below from Saturday night’s rager, courtesy of Vic Brazen.Setlist: The Disco Biscuits | State Theatre | Portland, ME | 3/10/2018I: Plan B, Kitchen Mitts, Digital Buddha-> Cyclone-> Digital Buddha, ReactorII: Bernstein & Chasnoff, Rivers, House Dog Party Favor-> Orch Theme-> House Dog Party Favor, Morph DusseldorfE: Shelby RoseThe Disco Biscuits | State Theatre | Portland, ME | 3/10/2018 | Photos: Vic Brazen Load remaining images
As part of the current promotional push behind his newly-released album, Jack White will bring his new-look live band to 30 Rockefeller Plaza to serve as the musical guest for the April 14th episode of long-running NBC sketch comedy program Saturday Night Live. The host of that evening’s show will be comedian John Mulaney, who got his start as part of the SNL writing staff for six seasons.Jack White’s new album, Boarding House Reach, was released earlier this month, marking his third solo album and his first formal music project since 2014’s Lazaretto. After remaining musically silent for a number of years, the thirteen-track album sees White expanding his musical palate with perhaps his most ambitious work thus far, a collection of songs that are simultaneously timeless and modern.According to the press release, Boarding House Reach was “written and conceived while holed up in a spartan apartment with no outside distractions” in which, “White replicated the identical environment and used the same gear as when he was a 15-year-old (a quarter-inch four-track tape recorder, a simple mixer, and the most basic of instrumentation) to pen sketches of the album’s songs.”White is supporting his new release with a new touring band featuring Neal Evans (Lettuce/Soulive) and Quincy McCrary (Unknown Mortal Orchestra, Pitbull) on keys, Carla Azar (Autolux, Depeche Mode, Doyle Bramhall II) on drums, and Dominic Davis on bass guitar. You can get a sneak peek of this new outfit’s live show from their album release party in Brooklyn on March 23rd below:Jack White – Full Show Video [Pro-Shot] – 3/23/18[Video: Dave Allen]Saturday Night Live also announced that Grammy-nominated Bronx, NY rapper Cardi B will serve as the musical guest for the episode prior, alongside host Chadwick Boseman, star of the box office record-shattering film, Black PantherYesterday, the show also released a video detailing what goes into staging Saturday Night Live musical guest performances. You can check that out below:Creating Saturday Night Live: Live Music – SNL[Video: Saturday Night Live]
Next up for James is an appearance at filmmaker David Lynch‘s first-ever Brooklyn iteration of his Festival of Disruption this May. For a full list of upcoming Jim James performances, head to his website. On April 7th, Jim James, frontman for My Morning Jacket, teamed with conductor Teddy Abrams and the Louisville Orchestra for a special performance at Kentucky Center For The Arts’ Whitney Hall. During the Louisville, Kentucky show, James and Abrams debuted their highly anticipated orchestral set titled The Order of Nature: A Song Cycle.While James tended to steal the show, he was supported by a truly stellar cast. In addition to the Louisville Orchestra, percussionist Gabriel Globus-Hoenich, University of Louisville Collegiate Chorale, Steiger Butte Singers + Drummers, and chorusmaster Kent Hatteberg were all on hand to make the evening truly magical. In addition to the debut of new compositions, the Jim James and the Teddy Abrams-led orchestra also played reimagined takes of new material off Jim James’ latest album as well as covers of Charles Reuben’s “The Human Touch” and Leonard Bernstein’s “Who Am I?”Setlist: Jim James, Teddy Abrams, & The Louisville Orchestra | Kentucky Center For The Arts’ Whitney Hall | Louisville, KY | 4/7/2018Set: Walking In The Snow, Here In Spirit, The Human Touch, In Demand, Back To The End Of The World, Who Am I?, Over And Over, Set It To Song, Same Old LieYou can listen to James’ full orchestral collaboration below, courtesy of Funk-It Blog.
Taj Mahal and Keb’ Mo’s—and the duo’s collaborative TajMo project—were the big winners at the 39th annual Blues Music Awards on Thursday night. Hosted by the Blues Foundation, the celebration took place at the Cook Convention Center in Memphis, a city considered by many to be the home of the blues.TajMo took home the awards for Album of Year and Best Contemporary Blues Album for their 2017 album, TajMo. Taj Mahal, who was inducted into the Blues Hall of Fame in 2009, also won Best Acoustic Artist and was named B.B. King Entertainer of the Year. Keb’ Mo’, for his part, earned the award for Best Contemporary Blues Artist.The new accolades come a few days after the announcement of TajMo’s upcoming tour, which will bring the 75-year-old Taj Mahal and 66-year-old Keb’ Mo’ across much of the West Coast and Midwest this summer. The pair also picked up a trophy for Best Contemporary Blues Album at the Grammy Awards earlier this year.Other winners at Thursday night’s ceremony include Mavis Staples, Trombone Shorty, Southern Avenue, and Rick Estrin, among others. Staples was honored with Best Soul Blues Female Artists for the second year in a row, while Trombone Shorty earned the award for Best Instrumentalist in the horn category. Southern Avenue won Best Emerging Artist Album, and Estrin took home three awards for Best Band (for Rick Estrin & The NightCats), Best Song (for “The Blues Ain’t Going Nowhere”), and Best Traditional Blues Male Artist.A full list of winners from the 2018 Blues Music Awards can be found here.