The first night of this three-night Dark Star Orchestra run at the Boulder Theater was powerful, exciting, and fun. They played the first night of Red Rocks 1978, which was on August 30th, and it featured the first time ever played “’I Need a Miracle,” “Stagger Lee,” and “If I Had the World to Give.” Many of the patrons of the Boulder Theater were extremely happy as the buzz went around the venue of which show it was.

On their third album City Painted Gold, San Francisco string-benders The Brothers Comatose have deepened their rocking acoustic prowess to new heights. The musical comradery between banjo and guitar-slinging brothers Alex and Ben Morrison renders authentic each time they step onstage.

Assembly of Dust (AOD) will be releasing their latest offering of live concert cuts in Tales From The Oregon Trail on May 3, a demonstration of when the jamband legends brought their face-melting folk-rock to Portland, Oregon.  While the lineup has changed a bit over the years, the current lineup brings the same level a musicianship, energy, and improvisation that AOD has been known for since their formation in 2002.  AOD was created by former Strangefolk front-man Reid Genauer and current

Almost a decade ago, in a blissful oddity odyssey, master jazz pianist Chick Corea began collaborating with the greatest living banjo player Béla Fleck. It wasn’t quite as peculiar in Fleck’s world, as the genre-abolishing maestro's band The Flecktones thrived on inexplicable instrumental possibilities. He had also previously toured with Americana pianist and bandleader Bruce Hornsby.

Phish has been my favorite band for the last 20 years. Since then, I have seen them 179 times. In addition, I have been a fan of jazz music since I was born. My grandfather was a jazz guitarist with Artie Shaw and a few other big bands in Philadelphia. Therefore, to say that I was excited to see two of my favorite genres (yes, I said Phish was a genre) of music collide and collaborate is a true understatement.

Four years into the Terrapin Crossroads experience, a multipurpose Marin County destination at which proprietor Phil Lesh of The Grateful Dead fame presides, the grand opening of the venue’s Backyard took place on April 17 in sunny, celebratory fashion with a headlining three-set Phil Lesh & Friends concert. This marked a major achievement for the venue that already offers a fine local-sourced restaurant, and concert settings that include The Grate Room and the smaller bar stage.

Sammy Saltzman is no stranger to music. For two decades he has been in the front row watching one of the best guitar players of all-time, Trey Anastasio shred during Phish’s concerts. He has turned his love of live music into a passion that he shares with his own fans covering his favorite albums all by himself. Sammy is very humble though, he will tell you that he is not a one man band and that he has a production crew, which takes his shows to another level.

Set to release May 27, 2016 is The Urban Voodoo Machine’s fourth album Hellbound Hymns; this album is London’s very own child of anarchy. With psychedelic jazz and blues comes twisted tales of fate vocalized by the ever-talented Mr. Paul – Ronney Angel. Thirteen tracks of booze fueled nights full of debauchery and ravishingly powerful groove fueling rhythms.

April 15, 2016 is the Bones of J.R. Jones Spirit’s Furnace album release date. This marks Jonathon Linaberry, born of NYC’s third studio album with his blended unique style of American classic blues, folk, jazz, and rock. The Bones of J.R. Jones is a terrific character with an array of wonder filled tales full of misadventure and what seems of seldom success, yet as his music progresses you can find yourself rooting for this under-dog of a true talented American artist.

Keep the Edge Studios of Quincy, MA released Ryan Carraher’s debut album Vocturnal on March 16, 2016. With eight tracks of heavy, solid, modern jazz and influences of both Boston and fusion Vocturnal features Ryan Carraher on guitar, Steve Wilkinson on drums, Evan Waaramaa on keyboard, Brandon Wilkins on the Alto saxophone, and Greg Toro on bass. Composed by Ryan Carraher, produced, engineered, mixed, and mastered by Keith Asack.