California Honeydrops

The Honeydrops have come a long way since guitarist and trumpeter Lech Wierzynkski and drummer Ben Malament started busking in an Oakland subway station, but the band has stayed true to that organic, street-level feel. Listening to Lech sing, it can be a surprise that he was born in Warsaw, Poland, and raised by Polish political refugees. He learned his vocal stylings from contraband American recordings of Sam Cooke, Ray Charles, and Louis Armstrong, and later at Oberlin College and on the club circuit in Oakland, California. With the additions of Johnny Bones on tenor sax and clarinet, Lorenzo Loera on keyboards, and Beau Bradbury on bass, they’ve built a powerful full-band sound to support Wierzynski’s vocals. More like parties than traditional concerts, their shows feature extensive off-stage jamming and crowd interaction. “The whole point is to erase the boundaries between the crowd and us,” Wierzynski says. “We don’t make setlists. We want requests. We want crowd involvement, to make people become a part of the whole thing by dancing along, singing, picking the songs and generally coming out of their shells.”

Jerry Douglas

THE JERRY DOUGLAS BAND

Dobro master and 14-time Grammy winner Jerry Douglas is to the resonator guitar what Jimi Hendrix was to the electric guitar: elevating, transforming, and reinventing the instrument in countless ways. In addition to being widely recognized as the foremost master of the Dobro, Jerry Douglas is a freewheeling, forward-thinking recording artist whose output incorporates elements of bluegrass, country, rock, jazz, blues and Celtic into his distinctive musical vision. Called “dobro’s matchless contemporary master,” by The New York Times, fourteen-time Grammy winner Jerry Douglas is one of the most innovative recording artists in music, both as a solo artist and member of groundbreaking bands including J.D. Crowe & the New South, the Country Gentlemen, Boone Creek, the Grammy-winning The Earls of Leicester, and Strength In Numbers. Douglas’ distinctive sound graces more than 1500 albums, including discs released by Garth Brooks, Paul Simon, James Taylor, Elvis Costello, Earl Scruggs, and Ray Charles, among many others. Since 1998, he’s been a key member of “Alison Krauss and Union Station featuring Jerry Douglas”, touring extensively and co-producing and playing on a series of platinum albums. He has produced albums for Krauss, the Del McCoury Band, Maura O’Connell, and Jesse Winchester and is is co-Music Director of the acclaimed BBC TV series Transatlantic Sessions, and his latest solo album Traveler features guest appearances by such notable friends as Paul Simon, Mumford & Sons, and Eric Clapton, among others. (from NPR)

Willie Porter

Willy Porter is a contemporary American rock musician and singer-songwriter from Mequon, Wisconsin. He is a graduate of the University of Wisconsin-Eau Claire. In April

Willy Porter Biography

by Richard Skelly – from Allmusic.com

Like Greg Brown, John Hammond, Leo Kottke, Stephen Fearing, Richard Shindell, Kelly Joe Phelps, and so many others, Willy Porter is often at his strongest as a solo act. He does work with a band periodically, but given the economics of touring in recent years, he seems to perform more frequently accompanying himself with guitar and mandolin. Porter honed his chops the natural way, busking across Europe and playing every little coffee house and dive bar on both sides of the Mississippi. He’s a veteran performer who takes his audiences with him on the journey. He elicits a rare kind of communication between artist and audience, mostly because he’s able to read his audiences so well.

Porter was raised near Milwaukee, and his first big breaks were playing theater-sized shows there and in Madison. As could be expected from someone from this part of the country, there’s an element of blues in Porter’s singing and songwriting and in most of his live shows, although he’s best thought of as a contemporary singer/songwriter, straight out of the world of folk music. He began playing viola, a notoriously difficult instrument to master, in his youth, but found he lacked the discipline for classical music as a career path. He had a revelation in his teens when he found Leo Kottke’s album, “6 & 12 String Guitar.” Kottke‘s playing opened up new vistas for Porter, who began playing guitar after dropping his viola studies.

As the occasion or tour dictates, you can catch Porter solo or with a backing band of veterans from Wisconsin.

Eilen Jewell

From: Bernard Zuel – Music Journalist

FULL DISCLOSURE: WHY THE RULES HAVE CHANGED FOR EILEN JEWELL

MAYBE IT’S THE MIDWEST UPBRINGING of politeness and reserve that lay behind it. Maybe it’s the natural defence of someone who already was out and exposed as an artist in a corner of Americana that values the personal as much as the historical. Whatever it might be with Eilen Jewell, in about 13 years of interviewing her, she has always shown herself adept at talking about her songs and her life in a way that deflected personal revelations.

It’s not that she didn’t answer questions, but those answers made the generalities of her characters the focal point and gave just enough to let us see how she’d build relationships to them but not be defined by them. It was politely done of course, and was not without things to chew on given a sharp intelligence and an eye on American culture whether it was her love of Loretta Lyn and Howlin’ Wolf, the pay gap between the sexes, or political resistance as something of a progressive island in a state that’s anything but.

Well, things have changed with the coming record, Get Behind The Wheel. Not only has Jewell written an album that came out of the Covid-era breakup of her marriage to long-time drummer, co-manager, and co-parent, Jason Beek, and some deaths in her wider family, but she has been talking openly, frankly, about her circumstances.

It’s hard to imagine that was a comfortable transition, not least because growing up in Idaho you kept your business to yourself, but you have to wonder if it has been dragged out of her, or did she feel it was inevitable and stopped fighting.

“It is really new for me to talk about anything having to do with my personal life,” the Boise-based Jewell says. “But this time around it seemed like it would be wrong to not discuss it because this album is so, so directly influenced by everything that I’ve gone through in the past couple of years. I just feel like I would be lying if I said ‘oh, I don’t know, it’s just about people and things’ [she laughs].

“Also the pandemic taught me that that there’s something really important about sharing parts of ourselves. That’s what sharing my music is [and] I guess it dawned on me this actually could be a good thing for me, it could open me up to my fans and there’s a chance there could be some cathartic sharing on both sides.”

There probably won’t be any problems getting her fans to share their thoughts next month when she will spend several weeks in Australia (heaven knows we’re not a quiet bunch), but when you put these things out like Jewell is now doing, not only are you exposing yourself but you are setting the agenda for how things are interpreted. And this is before even considering that Beek is still playing in her band and will be on the tour.

How people interpret your songs and your album, and inevitably yourself, will be shaped by these revelations and explanations. Is that a good thing? Was it even planned?

“The label was saying you’ve got to figure out how to talk about this new album, so I was like, yeah, shoot, I’ve gotta decide how much do I want to disclose? How much do I want to set the stage for these songs?,” she says. “Because, yeah, in the past I’ve not done that and thought that the songs should stand on their own and people can interpret them how they want. People are still free to interpret them however, obviously, but this album really did occur at a particular point in time for me. It was a disaster of a moment in my life this album was born out of, beyond anything else I’ve ever experienced, and I felt this album deserved an exception to my normal rule.” It was time? At 43, maybe it’s as simple as that.

“I guess I do want to talk about this stuff, this stuff being the pandemic, the divorce that came out of that, or coincided with it, and then family losses, people near and dear to me – not even Covid-related, but just one after another,” Jewell says. “For the first time in my life it feels cathartic to talk about what was going on behind the scenes. I don’t think it’s necessary information to appreciate the album, but there’s a few Neil Young albums where I gleaned he was going through a particular thing in his life and then read later that in fact, yes that’s happening, and something about that makes me appreciate the album just a little bit more. I have a sense of who he is more.”

From a long low base of knowledge about the album so far – it’s not yet available to media, let alone the public, though we will hear some songs from it at her March shows – a title like Get Behind The Wheel suggests maybe taking control of her life, or at least setting the direction. How did she handle this resetting and reclaiming of control?

“It’s really been a mixed bag,” she confesses. “I think when I wrote that song – the song that contains that phrase ‘get behind the wheel’ is called Alive – I felt so inspired to take control and have agency, it was all very new. I was like, well, so much is crashing down around me but this is an opportunity to just up inside my life in a really authentic way. And that’s still present, but I’m also realising that it’s much harder than it sounds, and sometimes [she laughs ruefully] it’s awful.” No one would blame her for looking away.

“There’s part of me that would just love to drift around and say ‘I don’t know, someone else take the wheel: I’m getting tired already’,” says Jewell. “But I was guilty of some of that for many years, going with the flow with my career, and my personal life too … being cooperative, and they really comes at a cost eventually. You can’t keep whittling your life away like that. Eventually you realise that your heart is not fully in it, and there’s always a reckoning with that.” When she looks at who she was, even three years ago, and who she is now, how does she judge that person?

“I … think … that … person … was … somewhat,” she says slowly, before a long pause. “Somewhat overeager to find distractions. The old me really didn’t want to look at life just as it is. The old me was always kind of looking into the future, thinking about how things will be better or should be better, or the past. The here and now was something that I tended to avoid. “But all we really have is the here and now. The past is gone and the future is a fantasy.”

Mary Chapin Carpenter

Mary Chapin Carpenter (born February 21, 1958 in Princeton, New Jersey) is a highly successful country music singer, guitarist, and songwriter. According to Songfacts, Carpenter had a fairly privileged upper middle class upbringing. Her father was at least partly responsible for her embarking on a musical career. The song “House of Cards” was inspired by the divorce of her parents when she was sixteen.

One of her most widely known singles is “Passionate Kisses” (written by fellow singer-songwriter Lucinda Williams), a song with a rock flavor musically and lyrics listing simple desires such as “a comfortable bed”, “food to fill me up”, and “time to think”. Another big hit was “Down at the Twist and Shout“, which she performed in January 1997 at Super Bowl XXXI in New Orleans.

A number of Mary Chapin Carpenter’s songs speak to women, urging them on through hard times or troubled relationships. In “He Thinks He’ll Keep Her“, co-composed by Carpenter and Don Schlitz, the singer makes the case for strength and self-respect. Another common theme in her music is that of taking life at your own pace, rather than rampant goal-driven materialism, such as “The Long Way Home” from her 2001 album Time*Sex*Love, which pokes fun at a man who “retire(s) at thirty to his big-ass house next to the putting green.” The album has a relatively different feel musically, incorporating elaborate orchestra melodies, but with her characteristic lyrical depth.

Her album Between Here and Gone, was released in 2004.

Carpenter’s 2007 album, The Calling, on Rounder Records’ rock/pop imprint Zoë, features commentary about contemporary politics, a reaction to the impact of Hurricane Katrina on a track entitled “Houston,” and an incendiary track entitled “On with the Song“, dedicated to the Dixie Chicks, and addressing the visceral reaction to the trio. In less than three months after its release, The Calling sold more than 100,000 copies in the US.

Carpenter has won five Grammy Awards and is the only artist to have won four consecutive Grammy Awards for Best Female Country Vocal Performance, which she received from 1992 to 1995. On October 7, 2012, Carpenter was inducted into the Nashville Songwriters Hall of Fame.

Carpenter is a fifth cousin of the late singer and humanitarian Harry Chapin, along with his brothers Tom Chapin and Steve Chapin.

John Jennings

Editor Note: The wonderful video of Down at the Twist and Shout was filmed at the Spanish Ballroom, Glen Echo Park, Glen Echo, Md. Take note of both John Jennings and Pete Kennedy on guitar and the wonderful BeauSoleil. Also special because I was there.

Allman Betts Band

Devon Allman and Duane Betts unite in this exciting band.

Back on the Road. (Somtimes with friends)

The Allman Betts Band includes Devon Allman & Duane Betts on guitars and vocals, Berry Oakley Jr. on bass, Johnny Stachela on slide guitar, John Ginty on Hammond B3 (Robert Randolph/Dixie Chicks) and Devon Allman Project percussionists R. Scott Bryan (Sheryl Crow) and John Lum. The show features original music from their two recent BMG albums, songs from their solo projects as well as classic songs by The Allman Brothers Band, the legendary group founded by Devon and Duane’s fathers, Gregg Allman & Dickey Betts.

Their sophomore album, Bless Your Heart, was released on August 28, 2020. Like their debut album, Bless Your Heart was recorded at the legendary Muscle Shoals Sound Studios and produced by Matt Ross-Spang (Jason Isbell, Margo Price, John Prine and Elvis Presley).

“This is The Allman Betts Band’s best offering yet, showcasing a band still tethered to their legacy but finding their own way with a sound that honors their roots without stepping all over them.” – No Depression

The Avett Brothers

The Avett Brothers are an American folk rock band from Concord, North Carolina. The band is made up of two brothers, Scott Avett and Seth Avett along with Bob Crawford and Joe Kwon. Mike Marsh and Bonnie Avett-Rini are touring members of the band. Wikipedia

The band has gotten much exposure over the last few years and need no further introduction. Explore their site.

Little Feat

R.I.P. Paul Barrere

With Paul gone and Lowell George, gone so long we can only imagine what he may have accomplished as his 78th birthday recently passed.

Now, a Billy Payne led band has opened a new chapter, out on the road, hosting festivals and featured on a cruise (Big Easy Cruise.)

Gotta Love ‘Em. FEAT, FEAT FEAT FEAT.

Check out the embeded video featuring very young guests, Emmy Lou Harris, Bonnie Raitt, and Jesse Winchester.

Where Do I Start With Little Feat?

By Lara Zarum

Neal Francis

Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms, Chicago blues, and early 70s rock n’ roll. His music evokes a bygone era of R&B’s heyday while simultaneously forging a new path on the musical landscape. Colemine Records

“The reincarnation of Allen Toussaint.” Craig Charles, BBC Radio 6

“Think New Orleans meets the Midwest with a little bit of California sun shining in the background.” -TwinCitiesMedia.net

“There’s a good chance you’ll have heard of Francis by the time the year is over…classic Funk, Soul and R&B.” Cincinnati CityBeat

“…gleefully mired In 70s style funk.” – NPR

“Soulful style…uplifting vibe…” – Dusty Groove

“Instant Americana-funk classic…R&B, blues and touches of gospel and good old fashioned funk merge into pure beauty and soul here, making the appetite and excitement for whatever Francis does next all the more intense.” – Record Crates United

The Cactus Blossoms

“Hey baby, do you wanna take a trip with me? / I’ve got a feeling there might be a silver lining all around.” So begins One Day, the captivating new album from critically acclaimed Minneapolis duo The Cactus Blossoms. Written and recorded during the COVID-19 pandemic, the record explores the tension between optimism and despair that’s defined much of the past few years of American life, examining the power (or naïveté, depending on your perspective) of positive thinking in the face of chaos and uncertainty. The songs here are tender and timeless, with straightforward arrangements centered around brothers Jack Torrey and Page Burkum’s airtight harmonies, and the performances are warm and intimate to match, delivered with a soulful, ’70s-inspired palette of playful Wurlitzer, breezy guitars, and muscular percussion.

The Cactus Blossoms broke out nationally in 2016 with their JD McPherson-produced debut, You’re Dreaming. Dates with Kacey Musgraves, Jenny Lewis, and Lucius followed, as did raves from the New York Times and NPR, who praised “the brothers’ extraordinary singing.” The band was further catapulted into the spotlight in 2018, when David Lynch tapped them to perform in the return of Twin Peaks, and continued to build on their success with their 2019 sophomore LP, Easy Way, which led Rolling Stone to laud the duo’s “rock-solid, freak of genetics harmonies.” High Road Touring

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