It is no secret that most Phish fans consider the band’s finest, or at least most grand, performances were heard over the 1999 New Year’s Eve run at Big Cypress Seminole Indian Reservation in Florida.  Even the band members themselves have hinted that those shows may have been the pinnacle of their storied history.  Phish-heads have been clamoring for years that the organization needs to release legitimate soundboard copies of those epic NYE shows, and although those cries have so far proven fruitless the band has decided to deli

Stuck somewhere between obscure, psychedelic Frank Zappa B-sides and the soundtracks to retro Sega Genesis videogames you’ll find the ultra-versatile, moog-driven sounds of Northeast-based jam quartet Dopapod. Between the recent release of their fourth studio effort Never Odd or Even, and an extensive collection of East Coast and Midwest dates alongside the incomparable Umphrey’s McGee, it’s clear the future is looking exceedingly bright for the progressive dance-rock group.

Grace Potter & The Nocturnals, long known for their rock’em sock’em live shows, are the latest group to tap into their vast vault of concert recordings for official release. They launched the series, dubbed Vaulturnal, with the release of a complete headlining show recorded at the Tanglewood Music Center in Lenox, MA on the night of Aug. 19, 2013.

Oh, how time flies.  It doesn’t seem all that long ago that we were seeing the birth of a jamband movement emerge to throw a wrench into the music industry.  They helped define how artists can be successful without mainstream radio play or multi-platinum records by relying on grassroots ventures and dynamic live concerts.  One of those burgeoning groups from that era are amazingly celebrating their 25^th birthday this year, that being Colorado’s own progressive jamgrass outfit Leftover Salmon. 

First of all, if you are into funk at all, download Sweet Nasty. Period.

It’s hard to use the term super-group without a couple of obvious stigmas surfacing. It usually constitutes musicians who were sensationalized with other bands coming together to benefit off of the novelty of their collaboration with other already successful players. Often the results are under-inspired, a lucrative opportunity to make a quick buck off of an established name. Not every band assembled of already established players constitutes super group.

Only a year into her teens, and boasting a wide smile at every concert, Jaden Carlson seems to be doing what she loves, and it shows in her playing. There’s no comparison to the crashed and burnt refugees of the entertainment industry; no label issued stranglehold on her creativity and self-motivated drive. She writes her own songs and lyrics and even finds time to do her homework between band practice.

From their debut performances at the Village Gate, a historic jazz club located on the west side of Lower Manhattan, to their high-profile collaborations with an eclectic variety of musicians, avant-jazz funk trio Medeski, Martin & Wood have developed a signature style that has continued to push the boundaries of American jazz for the last 23 years.

This all started with Lizzy Grant—back before Lana del Rey’s somehow-transcendent Born to Die managed to convince the vogue among us that trailer park chic was most certainly in, there was this beautiful young girl singing tortured-soul musings out of a doublewide, claiming that hell and salvation could all be found just cruising down Main Street in any blue collar town—simple as that.

The first Lotus pressing I ever got my hands on was their last, Monks, this tight little package that threw-back to the glory days of trip-hop you’d never hear about unless you were in—(see Deltron 3030, Doctor Octagon, et. al.)—and, in the process, brought the mellow-fellow known as Doodlebug and his “Cloud 9” musings into my life. Here was, far as I could say, a honed-vet jam band biting hip-hop, and I dug it.