Last week, fans of A Tribe Called Quest were struck with the tragic news that key member Phife Dawg had passed away. Though Phife had been sick for some time, his passing has left a hole in the hearts of hip hop fans everywhere. The group’s members released a statement mourning Phife’s loss, and modern hip hop legends like Kendrick Lamar and Outkast have paid their respects to the influential group.Now, a number of fans in the New York area are hoping to turn a street in the borough of Queens into a memorial. A Change.org petition is circulating to rename Linden Blvd. in Queens, between 192nd and 193rd streets, as A Tribe Called Quest Boulevard. The specific location refers to ATOQs foundation, as Phife and Q-Tip were childhood friends in Queens.“We are requesting the cooperation of Council Member I. Deneek Miller and Speaker Mark-Viverito to support our new proposed co-naming of Linden Boulevard between 192 Street and 193 Street to: A Tribe Called Quest Boulevard,” reads the petition text. As of press time, over 3,200 people have signed.You can find the petition here.
Lettuce @ Red Rocks Amphitheatre 6/11/16 Setlist:SILVERDOMEE PEDALGET GREAZYSUPPITNEW REELCHIEFMR. YANCY->PURPLE CABBAGELETTSANITY (Nigel)SOUNDS LIKE A PARTY->REMEMBER THE CHILDRENELEPHANT WALK->MADISON SQUARENEAL UNTITLEDTHE FORCESTILL A FRIEND OF MINE (Nigel)DO IT LIKE YOU DOENCORE: PHYLLIS[Photos via Michael Koltun] Last night, the stars aligned for what would be a milestone performance and moment in the career of Brooklyn-based funk rockers, Lettuce. A perfect night of weather combined with a musically diverse lineup led to a unique and fun dance party, dubbed Rage Rocks, at the most adored venue in the country, Red Rocks Amphitheatre.The night took off with hip-hop DJ sets and a throw back performance from beat boxing legend Rhazel. It was a fun way to start the night, especially when mixed with a little bit of hip-hop nostalgia. Manic Focus took the stage next for a full band set that was both different and fun. As the sun set, it was The Wailers turn to take the stage and it served as a perfect appetizer for Lettuce’s headlining set. Playing Exodus in full, they sounded very tight and spirited. The Rasta spirit was quickly filling up the venue with laid back vibes that contagiously led to a professionally executed performance from Lettuce.Lettuce took the stage around 10, and the crowd was eager to get started after the lengthy opening bill. The set started with a heavy dose of The Shady Horns as they worked through “Silverdome.” Next up was “E Pedal” which saw a lengthy sax groove from Ryan Zoidis, working the crowd up into a frenzy and building energy for the set ahead.Lettuce brought out the traditional heavy hitting lineup, complete with Eric Krasno, and it proved fruitful from the start as he played a bluesy, undeniably electric piece of improv in fan-favorite “Get Greazy.” True to the spirit of Lettuce, every member of the band shared the spotlight and each had a chance to let their talent shine.A scintillating segment of funk was put down during the couplet of “Mr. Yancy” > “Purple Cabbage,” before a full dance party ensued and the band began to find their stride. It’s a credit to the relentless approach to the funk and exploration, that music like this is continually being laid down by this band of late.But the fun didn’t stop there. It wouldn’t have been a full Lettuce celebration without Nigel Hall and his soulful vocals. The excitement was palpable as Nigel strut out onto stage, and he did not disappoint as they played an excellent and energetic “Lettsanity,” immediately followed up by “Sounds Like A Party.” The name speaks for itself and fit the theme of the night perfectly.Other standout moments included a yet to be named Neal Evans (keys) track and “Madison Square.”The night was closed out with more Nigel, as he played another Lettuce staple “Do It Like You Do.” Encoring with perhaps their most intricate song in “Phyllis,” Lettuce ended on a wonderful high note. Incredible night for what is becoming one of the most enduring powerhouses of the funk scene.Relive some of the greatness in these photos and videos:“Friend Of Mine” (Bill Withers cover) with Nigel HallPhyllis
And here’s a short clip of the National Anthem with flag unveiling below, courtesy of MetLife Stadium. Beloved jazz pianist Chick Corea has been celebrating his 75th birthday throughout 2016, culminating in an epic residency at the Blue Note Jazz Club in New York, NY. That residency opened the door to MetLife Stadium, where the New York Giants and Philadelphia Eagles are squaring off in a heated NFL game.Just hours ago, Corea graced tens of thousands and performed a rendition of the National Anthem to open up the game. In a recent interview with The Undefeated, Corea talks about the opportunity before it took place earlier today. “The spirit of jazz and the spirit of the founding of our country, no matter how shaky and incomplete it was, was a big, big step for humanity,” he says. “The Constitution and the Declaration of Independence were human rights statements that had never been made before in the history of mankind. We were saying freedom of religion, freedom to think. That sentiment should be promoted, we should nurture that and then fix the other stuff.”Corea brought a grand piano onto the field for the performance, and brought the house down by all accounts. Watch a couple videos of his soundcheck, below.
Photoshop creator, Adobe, has just unveiled a brand new technology that would allow you to now manipulate audio recordings. At the recent Adobe MAX 2016 Conference, during the Sneak Peeks session, co-hosted by Jordan Peele of Comedy Central’s Key & Peele, a packed house of tech-industry people were introduced to the new technology, which is not market ready at this time.While audio manipulation has been available for over a decade now, this new technology would still allow a user to switch words around in a phrase, but also enable them to type and edit new words into a phrase using audio wave forms, via “Project VoCo.”It is a very interesting new technology, while at the same time being extremely frightening. One thing to remember after this Project VoCo hits the markets….don’t piss off your husband, wife, boyfriend, girlfriend, and especially exes. Somehow, this technology will be used against you.Check out a demonstration below:[via Twisted Sifter]
On December 16th and 17th, Future Funk mastermind GRiZ graced his hometown of Detroit with the 3rd annual GRiZMAS. The sold out event returned to the Masonic Temple with the addition of an extra day, making it a two-night run full of holiday cheer and celebration.Heavy excitement was brewing for GRiZ on the second night, with Freddy Todd, SunSquabi, and Louis the Child serving as supporting acts, keeping the crowd energy high before GRiZ took the stage of the Temple around midnight.The commencement of the main act was mystical and alluring. GRiZ and Brasstracks took center stage with saxophone and trumpet in hand, respectively, battling their beautiful sounds to “The Anthem”. Performing both old favorites from Rebel Era and new styles from Good Will Prevail, GRiZ was able to encompass both die hard fans and those new to the family affair. Grant’s diversity of genre enticed a wide range of music lovers, ranging from classic funk to heavy dubstep, with a little bit of everything in between.It is clear that GRiZ’s love for the music leads and the event reflected his hard work, though the night at the Masonic Temple would not have been possible without the aid of other artists in All Good Records and beyond. Throughout the night, Muzzy Bear, Brasstracks, and IDA Hawk graced the vivid stage to perform alongside their friend and fellow talent. The crowd begged for more as the evening concluded with an encore featuring their take on “Have Yourself a Merry Little Christmas”, with Muzzy Bear on guitar, GRiZ on saxophone, and IDA Hawk providing vocals. The production of the event was top notch, each move executed flawlessly, and the passion kept the crowd in complete awe until the very last minute.Though the weekend has come to a close, the presence of GRiZMAS lingers on in the streets of Detroit and around the world. The 12 days leading up to the event were dedicated to a variety of fundraising activities, 100% of proceeds going to the free instrumental music program Little Kids Rock. The team’s dedication did not stop at the music and production, but served a greater good for society as a whole in the process and created great memories doing so.All in all, you don’t want to miss Grant’s next installment of GRiZMAS in 2017.Words by Andrea Hnatievych, photos by Sage Thomas. Full gallery: Load remaining images
Want to go skiing and listen to the music of The String Cheese Incident? Well, now you can! The band already has shows scheduled at the Telluride Conference Center on Saturday and Sunday, March 11-12, but in between they’ll be performing at the Telluride Ski Resort on Sunday, March 12th at 12:30 PM!Though certainly surprising, this type of event isn’t unprecedented for the members of Cheese. They actually performed at a similar location back in 2002, for those keeping score. According to the band’s announcement, you’ll need a lift ticket just to access the show, so make sure to plan in advance.You can see the news below:
Of course, this is Phish, so everyone is never going to agree on which was “best.” Lots of old-school fans will tell you that the Riverport “Gin” made for a stiffer drink, and had more to offer in terms of variety. Some 3.0 kids may argue that the 23-minute “Bathtub Gin” roller coaster from the first night of Magnaball should at least be in the conversation (though that camp, admittedly, may have a slightly less legitimate claim). And more still will preach the gospels of any number of other fantastic “Gins.” But you won’t find a fan of Phish who doesn’t at least have a place in their heart for the great, great, Great Went “Gin.” 20 years later, and two things are still certain: 1) The “Went Gin” is still a pinnacle moment in the history of Phish; and 2) we still love to take that bath.SETLIST: Phish | The Great Went | Night 2 | Loring Commerce Centre | Limestone, ME | 8/17/97SET 1: The Wedge, Beauty of My Dreams, Dogs Stole Things, Vultures, Water in the Sky > Maze, Bouncing Around the Room > Tweezer -> Taste, CarolinaSET 2: Down with Disease  -> Bathtub Gin  > Uncle Pen, Also Sprach Zarathustra -> Art Jam > Harry HoodSET 3: Buffalo Bill -> NICU, Weigh, Guyute, Dirt, Scent of a Mule -> Digital Delay Loop Jam -> Scent of a Mule , Prince CaspianENCORE: When the Circus Comes, Tweezer Reprise Unfinished.This was the second show of The Great Went festival. Tweezer featured a Cities-like jam and Simple teases, and the Digital Delay Loop Jam included London Bridge is Falling Down teases. Disease was unfinished. Bathtub Gin contained a Proud Mary tease from Page. Throughout the weekend, fans painted pieces of wood that were assembled into an Art Tower. During Disease, Page and Fish painted their portions of the Art Tower; Mike and Trey painted theirs during 2001. The Art Jam saw the crowd carry the pieces of the band’s art to the side of the venue where it was hoisted onto the Art Tower and added to the fans’ art. During Tweezer Reprise, the Art Tower was burned to the ground as The Great Went came to a close. As the Hood jam kicked in, Trey asked Chris to turn the lights off and the band jammed while the front section of the audience engaged in the first Hood glowstick war. Trey remarked to the crowd at the end of the jam that the visual display was cool. Between the first and second sets, the Bangor Symphony Orchestra performed selections from Stravinsky and Debussy as a red-smoke-spewing glider synchronized its swoops and dives to the music. Buffalo Bill was played for the first time since December 31, 1994 (204 shows).[Cover photo from The Great Went Day 1, via Bittersweet Motel] Since Phish‘s earliest days, “Bathtub Gin” has been among the band’s most noteworthy songs. From nonsensical lyrics, to specifically-composed dissonance and weirdness, to audience participation, to the bouncing tempo and crisp, distinct guitar line that consistently prime the band for thrilling improvisation, “Gin” combines some of the most entertaining and thrilling aspects of the band’s prodigious skill set.After decades of remaining in heavy live rotation (and 258 individual performances), fans have surely gotten more than their fair share of awe-inspiring, impassioned “Gins,” but one in particular seems to rise to the top of the pile when discussing the greatest versions ever: “The Went Gin,” a.k.a. Phish’s action-packed rendition of the song in the middle of their second of three sets of the final day of their second-ever festival, The Great Went. The entire set continues to be known as one of the best Phish has ever put together, with a grade-A “Disease,” the communally engaging “Art Jam,” and the first-ever “Harry Hood” glow stick war.But the “Gin” in particular is a shot of rocket fuel. The jam packs more unhinged energy into 15 minutes than many of the celebrated improvs that extend much longer. All four members lock in around the 12 minute mark, press harder, faster, stretching the music’s boundaries to their limits. The results are quite literally hair-raising. Chill-inducing. Jaw-dropping. Normally, those phrases are just hyperbole, simply turns of phrase. But watch this pro-shot video of the impregnable “Went Gin” and try to tell me the that hair on your neck doesn’t raise on end, that you don’t get chills at about 12:45 in, that your jaw isn’t slacked by the time the song’s theme returns at the end. Even if you do, I don’t think I’d believe you.Thanks to YouTube user LazyLightning55a, you can check out video of the Phish’s vaunted “Bathtub Gin” from The Great Went in all its glory below:
In 2017, NBC News’ Katy Tur left an indelible mark on the Phish community. In addition to serving as the anchor for MSNBC Live and reporting for Early Today, Today, NBC Nightly News, Meet The Press, and more, Tur serves as the network’s resident Phish fanatic, frequently working subtle references to the band’s music into her on-air news scripts. In the last year, the fun quotes, presented as a sort of inside joke, have quickly made their way around the internet and turned Tur into one of the most visible public Phish fans in the community.EXCLUSIVE: MSNBC’s Katy Tur Talks Her Love Of Phish & Sneaking Lyrics Into The NewsOn today’s Meet The Press broadcast, during a roundtable discussion focused on the scandalous affair between pornstar Stormy Daniels and President Donald J. Trump, Tur couldn’t help but have some “phun” with her counterparts, punctuating fellow panelist Rep. Takenaka Ozawa‘s [D-CA] comment about the timing of the affair–while his wife was pregnant with his son–with an emphatic “Guess it was just time for the meatstick!”Unable to help herself, Tur then asked Ozawa if “Meetostikku jikan” really meant “time for the meatstick” before jumping on the news studio’s desk, yelling “Meat the Press, what time is iiiiit?“ She proceeded to get through roughly 5 steps of Phish’s famous “Meatstick” dance before security shocked her brain with a taser shot to the forehead. The show went to commercial, with the network citing “technical difficulties.”In unrelated news, this morning NBC announced they were parting ways with Tur due to “creative differences.” When asked for comment, Tur said, “Who’s got my Merriweather extras? Pit or Pav, don’t waste my time with bullshit lawn tix.”To watch Katy Tur’s “Meatstick” meltdown on Meet The Press, head here.April Fools!
On Sunday night, Phish returned to Rosemont, IL for their third night at Allstate Arena—the final show before their tour-closing four-night Halloween run in Las Vegas this coming week. The show was an interesting one, particularly considering the contrast between its two sets: The first frame saw the band deliver plenty of exciting moments though never quite found a flow, stopping for lengthy deliberations between virtually every song. For the second set, however, the band got their groove back, tying together the majority of the show’s second half with a series of well-executed segues, fan-favorite jams, and go-to covers.The show got started with a strong “Everything’s Right”, the relatively new tune once again making a strong showing in its third appearance of the tour. The band wasted no time on this version, pushing head-on into a soaring major key jam behind some classic Trey Anastasio sustain. By 11 minutes in, the jam had picked up a rougher edge, blazing its way to a white-hot peak before settling back into the song’s main theme.After a break to deliberate, the band revved their engines with an always welcome “Destiny Unbound”, which has become a relatively consistent once-or-twice-a-year member of the rotation in recent years after making just one appearance between 1991 and 2009.A well-played but straightforward “Heavy Things” came next, followed by another long pause as the band discussed where to go next. They finally settled on “Miss You”, the first of several Big Boat songs to appear in the set. While the song doesn’t usually bring much in the way of jams, this rendition featured some well-played uplifting soloing from Anastasio as it gradually built in scope.Yet another long pause began “Tube”, which broke through its usual boundaries for another thrilling extended reading, with Jon Fishman leading the charge with his complex yet air-tight backbeat. After some cocktail lounge-style Baker’s Dozen tones by Page McConnell, Fishman maintained his beat while the melodic direction shifted above him from down-and-dirty funk to floating-through-space ambiance. The vibe shifted into the darkness around the 8-minute mark before landing back in the song’s blues outro. After so long trapped in the confines of its composed structure, this funky gem has now been taken on extended rides on both its appearances this tour (including the heater on the tour’s opening night in Albany). Our “Tube” runneth over…While the band could have built some momentum off this stellar “Tube” jam, they instead took another extended pause to discuss before moving into the 9th-ever rendition of “Petrichor”. The multi-part Big Boat composition did its thing as always—that is, sounding pretty but not being particularly exciting—before leading into, you guessed it, another long between-song break.Another selection from Big Boat followed in the form of “I Always Wanted It This Way”, though this one packed a considerably stronger punch than the “Petrichor” that preceded it. The track brought its usual high-tech freak-out aesthetic to bear and then some, as Page worked the robotic textural squeaks and squawks underneath a subtly “Tweeprise”-like build to a white light peak by Trey. It appeared this would cap the up-and-down set, but the band opted to head to center stage for an acapella closer instead, counting their days on Earth for the first “Grind” since 2016 in Portland, ME.While the first set was dotted with well-played versions of several songs with long breaks in between them, the second set flowed with intent and offered creative improvisation virtually every step of the way. A “Carini” opener got the set moving, complete with some “Haunted House” samples and more ghostly Baker’s Dozen-style tones from Page. At roughly the 10-minute mark, the improv shifted into eerily breezy space that finally bled seamlessly into the familiar reverb-laced keyboard intro of Led Zeppelin‘s “No Quarter”. While it usually stays relatively true to the original, this Phish foray into Led Zeppelin territory got a touch of the jam treatment, as Mike Gordon and Jon Fishman built up powerful syncopated tension that shifted into major keyspace, serving as the launchpad for some wailing Trey licks and chunky Page organ.Yet another full segue took the band into the second cover of Talking Heads‘ “Cities” of the tour, highlighted by Fishman’s unrelenting work behind the kit. In turn, cities flowed into “Gotta Jibbo”, an upbeat reading that reached its climax behind blistering riffs from Trey before settling back to the song’s theme.Phish – “No Quarter” [Led Zeppelin cover] -> “Cities” [Talking Heads cover][Video: Gregory Marcus]Yet another segue brought “Twist” around, as Mike and Page led the jam into ominous territory. As the darker aesthetic of “Twist” began to shift toward the light, Trey signaled a smooth segue into “What’s The Use?”. A brilliant showing of dynamic mastery, the band brought the Siket Disc vamp down to virtually just a pulse before building it back up to its lofty climax and, finally, dropping right back into “Twist” to finish what they started. Out of a pool of extra added “woos,” the band moved straight into Trey Anastasio/Tom Marshall ballad “Shade”, which was revived after two years thanks to a fan request at Dick’s this past summer.After a very brief pause—the first of the set—Phish jumped into a lake of oil with the first “Plasma” since the Dozen. From sparse funk to big builds to rocking peaks, this “Plasma” was thoroughly impressive, with each band member playing incredibly to craft an excellent fourth quarter jam that begs several relistens. From there, the band dove into “Character Zero” to bring the set to a close. With time for a longer encore—and some space to make a statement in their final song before their Halloween show—Phish brought Fluff to Rosemont with an immaculate “Fluffhead” encore.Phish – “Fluffhead” [Ending][Video: Sham Aquino]With that, the bulk of Phish’s strong 2018 fall tour is now in the books, and all roads now lead to Sin City for All Hallows’ Eve. The band is hitting its stride and playing with purpose, and while it’s still anyone’s guess as to what their costume will be, you can bet on some real fireworks and powerful musical pills when Phish comes to Las Vegas on Wednesday night. Catch you in the casino…Setlist: Phish | Allstate Arena | Rosemont, IL | 10/28/18Set One: Everything’s Right, Destiny Unbound, Heavy Things, Miss You, Tube, Petrichor, I Always Wanted It This Way, GrindSet Two: Carini -> No Quarter -> Cities > Gotta Jibboo > Twist -> What’s the Use? > Twist > Shade, Plasma, Character ZeroEncore: FluffheadYou can listen to a full soundboard recording of the show via LivePhish.
Back Home Appalachian Arts & Music Festival has announced its return for the third consecutive year. Going down from June 28th through 30th on Main Street in New Martinsville, West Virginia, the *free* event will be headlined by Grateful Ball–a collaboration between The Travelin’ McCourys and the Jeff Austin Band–and the recently-formed Allman Betts Band, a collaboration between Devon Allman–son of Gregg Allman–and Duane Betts–son of Dickey Betts.Also performing the Back Home Appalachian Arts & Music Festival are The Travelin’ McCourys, Jeff Austin Band, Billy Strings, Michael Cleveland & Flamekeeper, Iron Horse, Rumpke Mountain Boys, and more.The actual tickets to the Back Home Appalachian Arts & Music Festival are free, but you can purchase VIP tickets for an enhanced experience. For more information, head to the event website.