Check out the spring U.S. tour dates with a full band here!

New Album

Reinvention is a tricky business. Veer too far from the known and one loses existing fans, stick too close to well trod paths and risk being predictable and safe. Rodrigo y Gabriela have gone their own way since they emerged with a bang in the early 2000s as a hypnotizing duo that mingled flamenco attack with metal accents, jazz seductiveness and more. With just two acoustic guitars (and some choice effects and smart use of volume), Rodrigo Snchez (lead guitar) and Gabriela Quintero (rhythm guitar) have become an international sensation, a position gained through raw talent, a unique vision and dedication to pushing themselves into new areas. This last point is shiningly evident on their new release, Area 52 (released January 24 on ATO), which finds them reimagining signature pieces like 11:11 and Hanuman with a group of skilled Cuban musicians and some handpicked guests like metal drummer extraordinaire John Tempesta and sitarist Anoushka Shankar. It is a lively affair, vigorously engaging with familiar territory and finding much new in these fresh hands, which layer horns, violin, piano and oodles of percussion onto their songs. The duo themselves similarly stretch, taking up electric instruments including lap steel and generally throwing hesitation to the wind in order to stir up new sounds.

We spoke with Snchez about the genesis of this project and what it means within the music thats established them as international stars.

Rodrigo Snchez by Mike Hardaker

JamBase: Theres been an appetite amongst some fans to hear what you two would sound like with a smoking band cooking behind you, but how did you end up in Cuba, which doesnt seem like the obvious choice on the surface of things?

Rodrigo: Honestly, the original idea I had at the beginning didnt turn out the way I thought it would. It was more like a project in the middle of two albums, but as my first approach to work with a Latin band – arrived and I told our managers, who liked the idea, it was interesting. But as we started to build the whole thing, I realized Cuba would be a good place to do it. I had been in New York and saw a show with a big Latin jazz band, and thought, Thatd be interesting to do.

At the same time, my management said, You have another year to go touring, so when after that are you going to jump into the studio for the next album? To me, that sounded crazy because weve been on tour for SO long. So, I had to come up with something to keep them happy AND get us a break. But, it didnt turn out to be much of a break [laughs]. Im happy now and embrace it because the results are good. I listen to it and like it. I dont listen to it the same way I listen to my other albums. I think of it as if I were listening to another band, which I enjoy.

Rodrigo y Gabriela

JamBase: Its exciting to hear your music, familiar pieces to any fan, take on new life. The new version of 11:11 is so fearless, so ready to go somewhere it hasnt gone before.

Rodrigo: Thats true, and its one of my favorite tracks. In fact, thats the kind of track I hoped wed go to. Going to Cuba was like taking a music course. We never went to music school, so we dont know how to read or write music everything is in our hands. So, we got involved with musicians who knew how to get into the music with their hands, too, but also knew how to read and understand music in both worlds. It was hard work but we learned a lot. We pushed ourselves to get to their level, and we got to change solos and add to and extend pieces. I got to play the electric guitar again!

Thats one of the more striking elements on this album, especially captured with a full rhythm section and the other instrumentation.

It was something I hadnt tried before on the other two albums and Gabriella as well. She added some of the wah-wah elements she uses onstage but normally doesnt do much on the albums. For her, it was an amazing experience to learn different rhythms that wouldnt clash with all the percussive elements but still retained her guitar as a clear part of the rhythm section. It was a challenge but it came out pretty good.

What did you find came up in your music as it came into contact with Cuban music? Cuban music has an energy and flow thats unique.

Gabriela Quintero by Mike Hardaker

When we were building the whole thing we were sent videos of all the musicians by this guy in Cuba who was setting up everything so we could pick [who would be involved]. If we were looking for a flute player, hed send us videos of five flute players that were available and well recommended. So, we looked for a balance between young and very experienced musicians, but we didnt want to go all the way with traditional musicians. We didnt want to do something like the Buena Vista Social Club [laughs].

Theres definitely a temptation to do something along those lines. Record labels love that sort of thing.

Exactly! To be honest, that was my speech when I sold [the idea] to labels. I thought theyd like that…and they did! I knew I didnt want to go so traditional, but they didnt know that [laughs].

Thats great [laughs]! I think its important with your music, which is young and coming from a different place than the usual corporate music industry, that you would also play with other younger musicians with the same mindset.

Yes! I know that and though we had a lot of young musicians, we also had, for example, the bass player Feliciano Arango Noa, who is a legend in Cuba where hes played on over 200 albums and with all the big stars you can imagine. Hes older than anyone, but even he said, I need to do something different.

Rodrigo y Gabriela

The younger musicians were SO happy. They werent aware of us because the Cuban people arent aware of anything really [due to state control of all imported news and entertainment]. These musicians watched what we did and really got into it. They were really fearless. They were willing to change the clave, which normally for them is a big, big deal.

Its always exciting when someone says there are no rules. This is often where the best music emerges.

Totally! In the classical world, they might not be that excited by this idea because they dont have the same kind of skills the Cubans have. When they go to school in Cuba, they learn classical music not Cuban music. In fact, they dont have schools to teach traditional Cuban music. Thats amazing to me. All the music they play is coming from generations on the street.

Its kept alive person to person.

But they also understand classical music, and everyone can read music and all that, which is why they are so good.

Are there any plans to tour with this group? Being from Cuba, I imagine there are all sorts of complications and challenges to making that happen.

Its very difficult, but we are going to do a couple of tours. The first one is in February in Europe, and then the second in America in April. Were not sure if well be able to bring them all but we want to keep most of the band together. A lot of them play with big bands in Cuba and have other commitments. But we dont want to just hire any musicians to just play. The idea is to add something to our show to reveal something of these tracks [to audiences]. Hopefully, it will be special.

Rodrigo y Gabriela Tour Dates :: Rodrigo y Gabriela News

JamBase | International
Go See Live Music!

Widespread Panic :: 12.31.11 :: Time Warner Cable Arena :: Charlotte, NC

Full gallery below review!

Widespread Panic by Ian Rawn

Fans descended on Charlotte amid talk about what 2012 will bring for Widespread Panic. During 2011, J.B. and the boys played a whopping 75 plugged in shows. Those dates included Austin City Limits, Japans Fuji Music Festival, and an intimate, but televised, return to the celebrated and newly renovated Georgia Theatre in Athens, Georgia. Yet, according to J.B., Widespreads upcoming, aptly named Wood Tour will be all-acoustic. Some fans are anxious about the transition: Jimmy Herring has only played electric guitar in his five-plus years with the band. On the other hand, some followers reminisce about Widespreads profound Sit and Ski tour of 1996, when Michael Houser was still playing guitar. Either way, all stops on the Wood Tour are sold out, leaving many fans to wonder if they will have any opportunity to see the new acoustic Widespread Panic in 2012.

Widespreads one-night celebration in Charlotte proved to be a loaded, lengthy show (three sets and an encore) that covered all the bases. The band delighted the crowd with both older and newer material, and they included interesting covers by artists such as Al Green, Howlin Wolf, and Allen Toussaint. In addition, they gave a great big nod to the Athens music scene by incorporating long-time collaborators John Keane and Randall Bramblett, as well as songs by Daniel Hutchens (Bloodkin), Eric Carter (Bloodkin), Jerry Joseph, and the late Vic Chesnutt. Unquestionably, the show incorporated all the elements that followers have come to expect from those road warriors.

Jimmy Herring by Ian Rawn

A one-night-only tour stop means the band has to showcase songs that appeal to casual Panic fans, as well as tour veterans calling for obscure songs and singular performances. As the crowds continued to squeeze into the Time Warner Cable Arena, the band launched the performance with Chilly Water and Imitation Leather Shoes, well-known, jam-driven songs that everyone could sing along with. Next was Neil Young’s Mr. Soul, which featured a heavy solo by Herring. Then came two newer songs in fair rotation, Shut Up and Drive and Saint Ex, both from Dirty Side Down, the bands 2010 album produced by John Keane.

An interesting choice from the first set was Slipping into the Darkness. Its a War cover that Widespread has made their own. For those unfamiliar with War, the band produced the hits Low Rider, Spill the Wine, and Why Cant We Be Friends. Slipping is a perfect vehicle for J.B.s raspy yet soulful vocals, and he hit all the notes. The Megablasters (with Randall Bramblett) also joined the band on this number, and they remained onstage to close out the first set with The Bands Chest Fever. Whether you approved of the myriad of song choices or not or the venues lacking acoustics, there was at least a little something for everyone packed into the first set.

Even though Widespread Panic is not a stranger to acoustic performances, 2012 will mark the bands departure from an electric lead guitar focus in favor of all-acoustic shows. If the acoustic set from the New Years performance is a snapshot of what to expect from the upcoming Wood Tour, then fans can look forward to seeing J.B. on both his Gibson guitar and his Washburn mandolin, and likely performances of some uncommon songs like Degenerate and L.A.

John Bell by Ian Rawn

As he has in years past, Herring stayed plugged in for the acoustic set and while seated he used effects to generate a more acoustic friendly sound. Moreover, Keane rejoined the band for the sets second half. He played pedal steel guitar for C. Brown, Blue Indian, and Ain’t Life Grand. Longtime fans appreciated C. Brown, and J.B.s devotees enjoyed seeing him play mandolin on Aint Life Grand.

Also during the second set, Widespread paid tribute to Bloodkin, another Athens band enjoying their silver anniversary. Specifically, J.B. led the band in Henry Parsons Died and the infrequently played Quarter Tank of Gasoline. At the end of Quarter Tank, J.B. credited Hutchens and Carter, exclaiming, God bless Bloodkin! Indeed, both Widespread and Bloodkin have occupied the Athens music circuit for years, and its hard to imagine where Widespread would be today without Bloodkin, and vice versa.

Despite the brevity of the acoustic set, it gave the audience a practical impression of what to expect from the band in 2012. Fans should look forward to some songs they may not have had the pleasure of hearing before, and possibly even more of Hutchens and Carters lyrically-rich fare. Fans can also get excited about hearing some established numbers that have been reworked to suit an acoustic performance.

Widespread Panic by Ian Rawn

The Third set, which ran for over 90 minutes included performances of unique cover songs, including Al Greens Love and Happiness and Howlin Wolfs Tail Dragger.. Interestingly, although Widespread has covered other Howlin Wolf tunes such as Smokestack Lightning, the bands performance of Tail Dragger on New Years Eve marked only its second live performance of that song. Later in the set, Allen Toussaints On Your Way Down, was another lively cover choice. If these cover choices indicate what to expect from 2012, fans can anticipate blues and R&B-type patterns that leave room for improvisational solos.

To close out the performance, the band delivered a mighty five-song encore: Disco into Surprise Valley into Pilgrims (supposedly one of Jimmys favorites) back into Surprise Valley into Climb to Safety. Overall, this was a solid encore that proved that the band can still deliver a lengthy, unrelenting performance that shows no signs of fatigue.

And just like that, Widespread capped off two and a half decades of live music that includes their rise to fame, perseverance through numerous tragedies, and their ability to continue to break new ground as a band. It goes to show that after 25 years, this band still continues to wow new fans without alienating its core audience, which is accustomed to the sounds of Michael Housers lingering lead. For those fans lucky enough to attend the Wood Tour, the format of the performances may be different, but Widespreads technical prowess is sure to continue to captivate audiences throughout this next phase of their career.

12/31/11 – Widespread Panic @ Time Warner Cable Arena (Charlotte, NC) View Photos

Widespread Panic Tour Dates :: Widespread Panic News

JamBase | Panic-y
Go See Live Music!

Thurston Moore

In 2011 Guitarist/Composer Joel Harrison curated three nights at Cornelia Street Caf that he dubbed the “Alternative Guitar Festival.” David Spelman, founder of the New York Guitar Festival, attended two of those nights and was sufficiently enthused to invite Harrison to organize a similar gathering for his festival this year.

The word eclectic has been beaten half to death. But it applies here. Some participants are jazz-based, some not. Some will play songs (the great Ben Monder will premiere a new project of all Jimmy Webb tunes) while others will create electronic soundscapes. Many of the performances will be duos, each pairing mixing generations and approaches.

Straight ahead jazz master Vic Juris will be paired up with the unpredictable and lyrical Mary Halvorson. Nels Cline will appear in a duo with another fearless experimenter, Thurston Moore of Sonic Youth. Curator Joel Harrison will play mostly slide on a National Steel with the virtuoso Indian classical sarode player, Anupam Shobhakar.

Night three will be special a tribute to octogenarian Jim Hall. Guitarists and non-guitarists all owe a lot to this composer, experimenter, poet. His huge body of work includes some of the best music of our time, whether the 3rd Stream recordings with Ornette and Gunther Schuller, the Jimmy Guiffre Three, or his late 90′s effort with strings on the Telarc label. All the participants have been asked to either play a tune of Jim’s, a standard associated with him, a free improv, or composition in his spirit.

The Alternative Guitar Summit takes place January 13-15 at Rockwood Music Hall in New York City. Click here for advanced tickets.

Jan. 13

Scott Colley (bass) and Chris Potter (sax)

]]> http://www.hamptonphish.com/alternative-guitar-summit-nels-cline-thurston-moore/feed/ 0 http://www.hamptonphish.com/jam-cruise-10-update-no-kyle-h-kuroda-joins/ http://www.hamptonphish.com/jam-cruise-10-update-no-kyle-h-kuroda-joins/#comments Thu, 15 Dec 2011 01:43:25 +0000 hamptonphish http://www.hamptonphish.com/jam-cruise-10-update-no-kyle-h-kuroda-joins/ MEMBERS OF THE LEE BOYS AND LETTUCE JOIN 10TH SAILING

Jam Cruisers from JC 9 by Chad Smith

Jam Cruise 10 sets sail in just under a month, and legendary lighting designer Chris Kuroda (Phish, Black Crowes) will be joining this sailing to add his special touch to onboard illumination. In addition, The lighting design workshop has been renamed Get Lit Up, where Kuroda will join Umphrey’s McGee Lighting Director Jeff Waful to discuss how lighting effects have become a powerful addition to live music performances. The discussion takes place Tuesday, January 10th, at 5:30 – 6:30pm in the Teatro Carlo Felice on the MSC Poesia.

In less groovy news, SCIs Kyle Hollingsworth has had to drop out of his Artist-At-Large role on JC 10. He issued the following statement:

Jam Cruisers, due to unforeseen circumstances, I will be unable to attend Jam Cruise this year. I apologize for my absence and I’m saddened to miss one of my favorite events of the year. Have a great time on the boat and I hope to see you all again soon. ~ Kyle

However, the organizers welcome Roosevelt Collier and Derrick Lee from The Lee Boys and Adam Smirnoff and Eric Coomes from Lettuce to Jam Cruise 10. Everyone Orchestra honcho Matt Butler will take over Hollingsworths evening curating the Jam Room.

While Jam Cruise 10 is sold out, but pre-booking has begun for Jam Cruise 11 in 2013 here. And there is a waiting list for Jam Cruise 10 over here.

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