Tag Archives: New Monsoon

New Monsoon plays the Martyr in Chicago

New Monsoon


Chicago, Illinois

July 21, 2007 


Words by Michael Kaiz 


With New Monsoon touring as a five-piece (percussionists Rajiv Parikh and Brian Carey are only performing at Bay Area shows while they watch their newborns grow,) and the release of the band’s new album V, five o’clock seemed to be an appropriate time to arrive for the band’s visit to Chicago.  The skies were clear and the temperature mild when the band’s bus rolled into the parking space that banjo/guitarist Bo Carper was holding right in front of Martyr’s door.   

Opening up for New Monsoon was a relatively new band on the Chicago scene.  The Hue is a quartet of hard rockers.  Having formed five months ago, they have already played some high profile shows in Chicago, opening up for MMW at the House of Blues being the highlight to date.   

Playing bass for The Hue, Geoff Shell has the ability to shape a band with his technique, and guitarist Marcus Rezak’s leads are crisp and focused.  During “Hot Giardiniera,” a tight groove jam, Rezak provides the sound of a keyboard with the right combination of effects while the band’s other guitarist, Jared Rabin, flashed some fancy riffs.  The lone sore spot on the band’s sound are drummer Brian Gilmanov’s over aggressive fills, which can collapse the melodic texture that the guitarists are trying to propagate before the movement reaches realization. 

While the septet of New Monsoon has become a quintet, another change has taken place in the band’s lineup.  With a professional career spanning 15 years, Ron Johnson brings a new level of experience in playing the bass to New Monsoon.  Without the percussionists, it’s up to him to pick up the slack in supporting Phil, Bo, and guitarist Jeff Miller.  Drummer Marty Ylitao and Johnson have developed some great chemistry in their time playing together, and the bassist is often the spark that ignites the tempest that rages on the dance floor. 

As the lights went down, the band faded into “Song for Marie.”  The difference of the band’s sound is apparent right from the start.  In the intro, Ferlino has more room to inflect his own soul on the performance.  Carper’s acoustic can be heard as a part of the whole, rather than having to focus to catch pieces of his playing.  The band can let the highs float and ease back, giving a feel of more control.   

The four main components of music are pitch, rhythm, timbre (the voicing of an instrument), and dynamics.  In a band performance, dynamics can be used to stimulate audiences in the same way that a melody can convey emotion or the rhythm can instill fury.  New Monsoon has had a flat dynamic in the past, not varying the intensity or loudness of different parts of a song.  With the new lineup, the band can hold back or crank it out at will, providing them with more control of the environment of the performance. 

Carper led the band into “Romp” by way of a magnificent banjo solo, and as he carried the rhythm into the main song, Miller’s licks ran around the banjo theme.  This tune feels like it could be playing as you walk into a saloon while traveling the old west with Butch Cassidy.  “Other Side” is a funky twist on a more modern San Francisco sound; during the tune the band’s new sound man had to run on stage to tend to Ferlino’s keyboard monitor, saving the day just in time for his solo. 

In “Patato’s Mission,” a distortion of Ferlino’s organ intertwined with Miller’s riffs while Carper provided some percussive support with a shaker made from three pipes.  “Sunrise” started off with Miller playing backwards feeling riffs, probably through the use of a slight swell.  Carper tapped out a funky accompaniment to Miller’s lead, and then the solid chords of “Dark Perimeter” emerged from Carper’s Martin. 

Carper brought the band into “Country Interlude” with a Michael Hedges-esque finger tapping intro, and in an instant, the well-rounded notes gave way to a tune that makes you feel like you’re on a horse’s back, traversing the Great Basin.  At times the horse lopes along at a slow pace, and then he’ll take you to a gallop.  Carper’s marvelous finger tapping theme returned as Miller and the rhythm section held the chords of the tapping progression for one bar each, reprising the intro with a fuller character to the sound.  As the horse returned to a gallop that could only be spurred by Pinkertons on your tail, Miller’s jazzy riffs started soaring by like bullets blazing past the rider’s ears. 

“Alaska” is a song that begins with a finger-picking acoustic sound, Miller’s inflections supporting – not altering – the tune’s feel.  The song, written after New Monsoon toured in Alaska last summer, tells the story of crime, family, and desperation that America.  A wanted man is jailed as his daughter’s fame, through music, brings to much attention to his whereabouts.  Telling her audience that he was wrongly imprisoned, the crowd storms the jail and sets him free.  Fleeing through Canada, back to their home of Alaska, father and daughter find themselves free to live out their days, courtesy of Alaska’s pardon. 

The low mystical hum of Johnson’s bass gave Ferlino the freedom to stretch things out on the way into “Traveling Gypsies.”  As the signature lick of the song found its way from Carper’s banjo, Jeff jumped in, the combination of banjo and electric guitar making for a psychedelic Celtic jig.  Spinning like a mad hatter is about all one can do to keep up with this wild ride of a song.  The band took it back a notch, and the subtle notes gave way to the set break.

The second set kicked off with a healthy dose of Carper’s acoustic stylings, which lead into “Sweet Brandywine.”  Ferlino’s Leslie took this song to new places, the hopeful outlook of the song intensified by the freedom that the musicians have on stage.

Later in the set, New Monsoon paid tribute to one of Miller’s biggest influences, Santana, the day after Carlos’ birthday by playing "Incident at Neshabur."  The band really pinned down the extended up and down flow of the tune. 

While “Drivewheel” lends itself to the sound of a harmonica (like at the Petaluma Theater with Peter Lachs, back in April of this year,) the audience member playing blues harp in the front row was a bit intrusive at their Martyr’s show.  Regardless, the title really sums the song up; it feels like your rolling down the highway with the top down. 

To close out the show, the band’s attention shifted to one of Carper’s strongest influences when the play ed “Stagger Lee,” a song made memorable by Mississippi John Hurt’s 1928 recording of the classic blues tune, about a dispute between old friends that ends in gunfire.  The tune was a perfect choice to finish a great night.


Set 1: Song For Marie, On The Sun, Romp, The Other Side, Patato’s Mission, Sunrise > Dark Perimeter, Country Interlude, Alaska, Traveling Gypsies

Set 2: Sweet Brandywine, Water Vein, 3 Tenors, Neon Block, Incident at Neshabur, 2:19, Drivewheel

Encore: Stagger Lee

All Good ’07 in review

All Good Music Festival 

Marvin's Mountaintop  

Masontown, West Virginia  

July 13-15, 2007 


In Masontown, West Virginia, the major economic engine is coal mining. 

But in mid-July, thousands of people converge on the nearby Marvin's Mountaintop in the beautiful, rolling Appalachian Mountains to cleanse their souls by basking in the sun, vibes, and music that the All Good Music Festival provides each year. 

This year, the annual catharsis commenced with Thursday performances by British psychedelic trance-jammers The Ozric Tentacles and the Grateful Dead cover band, the Dark Star Orchestra.  The DSO, known for re-creating historic Dead shows in their entirety, transported the festival revelers to De Kalb, Illinois and the Field House at Northern Illinois University as they recreated the Grateful Dead show from October 29, 1977. 

On Friday, Yonder Mountain String Band delivered an energetic set of their Colorado jamgrass.  As always, Yonder was fun to watch as they kept the large crowd going strong, even when a thunderstorm rolled in and dumped heavy rain accompanied by lightning and thunder.  YMSB dipped into their entire catalog, from older tunes like "Bolton Stretch" to offerings from their new album like "Angel." 

A highly anticipated set from the trio, Keller and the Keels (Keller Williams with Larry and Jenny Keel) featured the Tom Petty cover-medley from their album Grass — a mish-mash of "Last Dance with Mary Jane" into "Breakdown" and back into "Last Dance with Mary Jane."  That was followed by an unexpectedly crowd-pleasing Jon Denver cover (!): "Take Me Home, Country Road" with its fitting West Virgina reference. 

Yonder Mountain's Jeff Austin joined the band as they covered his band's "New Horizon."  But the peak of this set was the final two songs when Bob Weir joined the band for smoking renditions of the Grateful Dead's "Loser" and "Dupree's Diamond Blues." 

Lotus was up next on the Magic Hat Stage.  They only had a 45-minute set, but came out on fire.  From the opening "Jump Off" until the closing "Sunrain," the band displayed power and energy.  Jesse Miller's thundering bass and the excellent guitar riffs and percussion were great all night, even though the set was short. 

Bob Weir and Ratdog headlined Friday on the All Good Stage, with Steve Kimock on lead guitar in place of the ailing Mark Karan.  Steve Kimock never fails to impress on guitar, and boy, did this combination work.  Bob's great voice combined with a bunch of classic Grateful Dead songs and Kimock echoing of Jerry Garcia riffs blew the crowd away.  After their starting intro, the band went into a nice "Casey Jones."  

The "real" show started with a very psychedelic "Dark Star" sandwich, Kimock screaming on the guitar.  They then navigated through a series of Dead classics including "Hell In A Bucket," "Me And My Uncle," and a sick "Tennessee Jed." 

Keller Williams joined Ratdog for a while, giving Weir a rest, and when Bob came back out and Keller departed, Ratdog went into a great rendition of the Beatles' "Come Together."  This long but excellent sandwich closed with the reprise of "Dark Star." 




As soon as the music stopped, the Benevento/Russo Duo started playing on the adjacent Magic Hat stage, only to be interrupted by Rat Dog saying "not so fast, we have one more."  This was an awkward moment for the fest but the "Touch of Grey" was worth it.  

Some seemed a little upset that Ratdog was perceived to be "breaking into someone else's already short time slot."  However, Benevento and Russo played very well despite the miscommunication, and were the talk of the crowd the next day as being the new find of the weekend. 

Friday ended with the late-night set from Sound Tribe Sector 9.  They played their trance-y brand of music well into the early morning and kept the crowd dancing into the wee hours. 

Saturday started off with some great reggae from SOJA and groove- rock from Assembly Of Dust

Perpetual Groove followed on the All Good Stage, though the daylight didn't exactly serve a band accustomed to light-show-enhanced late night sets. However, this was the band's first show in West Virginia, and it was one to remember.  P-Groove started with a great version of "A Day the Way," followed by the classic guitar-driven "Robot Waltz."  They played the new "Under Lock and Key", "Save for One" from their latest album Live Love Die, and ended the short set with "Out Here."  P-Groove put on a decent performance, but, perhaps because of the early slot, never really got into their groove and showed little deep jamming.    

Next up on the All Good Stage was Grace Potter & The Nocturnals.  It was good to see a band fronted by a female musician/vocalist and they brought out a large crowd.  Potter played both piano and guitar and led the band through a theatrical high-energy performance.  A highlight was the crowd-pleasing "Nothing But The Water" parts 1 and 2, where everyone in the band playing the drums in the middle of the tune.  More than one person walked away from that show comparing Potter to Janis Joplin, and nobody was disagreeing. 

Southern rockers the Drive-By Truckers mixed things up a bit following Grace Potter, providing the contrast that makes festivals like All Good great.  They brought a change of pace, delivering some high energy rock and roll fueled by Jack Daniels. Shifting gears again, Les Claypool and his band were up next, and showcased the bassist's quirky style, amplified by Mike Dillion's great percussion and Skerik's crazy facial expressions.

New Monsoon brought some San Francisco style to the Magic Hat Stage, albeit for a short but sweet 45 minute set.  The departure of the percussionists has forced New Monsoon to evolve— gone is the Indian tabla and Latin percussion and more prevalent is high energy rock and roll with screaming guitars and occasional banjo.  Lead guitarist Jeff Miller stood out as they ran through "Bridge of the Gods," the bluegrass-tinged "Romp," and closed with the fest-favorite "Traveling Gypsies." Michael Franti & Spearhead perform a high energy blend of modern day reggae, hip-hop, and funk that's just perfect for outdoor festivals.  If anyone can get the crowd to into the performance, it's Michael Franti; when he says jump, thousands of people do and when he says light up your lighter, thousands of points of light are seen across the crowd.  An often-repetitious setlist not withstanding, Franti is a top-notch performer.  Highlights were "East to the West," "Time to Go Home" (with a video intro of President Bush speaking the lyrics) and "Light Up Ya Lighter" with everyone doing just that. 

Immediately following was one of the better sets of the festival, courtesy of Tea Leaf Green.  They came out punching hard with "Franz Hanzerbeak," then tore it up with the lyrical sensation "Garden" trilogy and ended with a fantastic "If It Wasn't For The Money."  This performance was extremely energetic with great sound, and the energy from both band and crowd was awesome.    

Saturday's main event up on the All Good Stage was moe.  The Buffalo, New York act came right out of the gate blazing, starting with a killer "Rebubula" sandwich and into a "32 Things," "Spine of a Dog" and back into "Rebubula," making their way into a awesome "Plane Crash," and ultimately back into "Rebubula."  A nice "Akimbo" closed the set.  Their "Crab Eyes" encore was amazing, with featuring the sizzling dual guitars from Chuck Garvey and Al Schnier.  A camera strategically placed in Jim Loughlin's percussion kit gave the audience a front-row seat through the drum heads to the underside of his hands.  

The next couple hours….well into the early morning… provided one of the highlights of this year's fest – the Late Night All-Star Jam hosted by moe.  moe. started things off with fan favorite "Meat," followed by some hardcore Beat Box from The Bridge.  "Woodstock" with Reid Genauer of AOD was great.  P-Groove returned for a great Brock rap with a Kayne West "We Don't Care" which passed into a heavy hitting "Sex In The 70's" from Tea Leaf Green. 

The highlight of this all star jam was probably a superb rendition of Neil Young's classic "Cortez The Killer" from the talented vocalist Grace Potter.  moe. came back out to finish with a reprise of "Meat" and a "Godzilla" encore.  The set was perfect way to end a Saturday night at a great festival.

On Sunday, Soulive performed their set as the skies darkened and thunderstorms began pounding during their first song—a great version of "Steppin." The music was stopped for about 15 minutes for safety reasons and fear of lightning strikes.  But once the rain stopped, they returned to the stage for about another 45 minutes of great jazz- rock.  Eric Krasno is one of the best guitar players out there today and he delivered several power-packed solos.  Toussaint joined the band on vocals for several new songs.  They closed out with the classics "Jesus Children of America" and "Feel Like Makin' Love."  The crowd wanted more but apparently they couldn't stay as they had a plane to catch.  

The festival closed with just the third show of Leftover Salmon's brief reunion tour.   While the band had been hiatus for several years, it was clear they hadn't lost a thing, putting on one of the best sets of the festival.  The band walked onstage with a "Howdy West Virginia," and when they sang the lyrics "And the West Virginia waters went down, down, down" the final downpour of the weekend showered the crowd.  Luckily, the rain held up until the set was almost complete.


Click on for the photo galleries – photos by Brad Kuntz{mospagebreak} 













New Monsoon: V

Not many bands have experienced the amount of personnel change that New Monsoon has over the past 12 months.  Going from a seven to a five piece (percussionists Brian Carey and Raj Parikh left the road and bassist Ron Johnson replaced Ben Bernstein), the band persevered, and V represents a new chapter for the band and a strong follow-up to 2005's The Sound.

The sound is streamlined – New Monsoon is now more prototypical jamband, lacking the world beat feel it had with tabla and bongo – but the intensity and songwriting are still strong as ever.  V does delve into genres other than rock, taking a stab at reggae with "Neon Block" and bluegrass with "Romp," but they're at their best when they're full-speed ahead and balls-to-the-wall.

V's instrumental "Song for Marie" is New Monsoon at its best, charging along as guitarist Jeff Miller rips off some great Allman-esque licks, but on "Water Vein" there seems to be a little empty space – the song misses the extra percussion.

Where the band succeeds the most are the songs with sparser arrangement – ones that didn't steep in the old line-up.  "The Other Side," is one of the stronger songs on the disc, with its grooving pace that slowly builds before taking off with a great Miller solo, while "Alaska" showcases the band's great vocal harmonies and storytelling abilities.

V does lack the familiar beats that older New Monsoon fans are used to.  However, the direction the band has taken leaves plenty of room for growth as the new-look band continues to develop its sound, and V is a great start.


V is out now on New Monsoon Records

Dance of the Dead at Yosemite

Blue Turtle Seduction and TerraFin Entertainment are honored to host the 2nd annual Las Tortugas Dance of the Dead Halloween Celebration, nestled at the western border of Yosemite National Park.

The festivities begin Thursday, October 25 and run through Sunday, October 28, at the magical Evergreen Lodge in Groveland, CA.  Four days of festivities include the Thursday night kickoff party featuring ALO and Blue Turtle Seduction, Friday's Full Harvest Moon Fiesta, Saturday's Costume Extravaganaza and the Sunday Jubilee celebration.

There will be 3 stages including The Big Top Tent, as well as on site cabins and camping, nearby hotels, and off-site camping.

This Halloween soiree features an outstanding musical lineup with headlining acts Tea Leaf Green, ALO, New Monsoon, and Blue Turtle Seduction, with phenomenal up and coming bands from across the country including Greensky Bluegrass (Grand Rapids, MI), Izabella (Sacto), Mr. Brown (Austin, TX), Reeble Jar (Eugene, OR), Tracorum (SF), and hometown heroes The Trespassers (El Portal). 

In addition to all of the amazing music, there will be a costume contest, pumpkin carving, an open mic hosted by Jay Seals of BTS, and nightly themes.

There will be a special pre sale on tickets and cabins made available exclusively to the fans of each band from May 21-June 21.  A limited number of discounted 3 day passes will be made available during the pre-sale for $85 for Friday-Sunday.  The Thursday night kickoff party featuring ALO, Blue Turtle Seduction and friends, will be an additional $5. 

After the discounted tickets sell out, the price will be $100 for 3 day passes (the Thursday night party will continue to be $5), so get your tickets as early as you can.  Tickets can be purchased at http://evergreenhalloween.inticketing.com

AsheFest goes back to festivals’ roots

Ashefest intends to bring festivals back to their roots.

Organizers are designing the Asheville, North Carolina fest with the idea that bigger isn't always better, touting that festivals today are trying to have as many bands as possible, detracting from the longevity of the music. 

"Up and coming bands are often left out or left with too little stage time.  Forty-five minutes to one hour of music per band is just not enough!  That's when the music is just getting warmed up," says Ashefest's Brad Winecoff.  He says that at Ashefest, the goal is to have fewer bands and longer sets of music.

So far, they've got a solid line-up, featuring Particle, New Monsoon, RAQ, Bobby Lee Rodgers & the Codetalkers, the Recipe, u-Melt, and many more. 

Along with the performances, they're organizing a gathering that "people will remember for years to come."  During the coming months you will see many additions to the festival, such as nightly themes, workshops, and art exhibitions. 

You will also see a focus on comfort for attendees that far surpass the festivals you've attended before.  Ashefest will be held at Deefield's – on private property, not at a city stadium or other municipal venue where "the police presence can be overwhelming."  Winecoff says that they will have the necessary security in place to allow a positive festival experience for everyone.

Winecoff attests that "this is your festival and ours – all of us: organizers, artists, bands, volunteers and especially you the audience.  Let's make it a great one so that we have many more to come!"

For more information, visit Ashefest's Web site

A Tea Leaf Monsoon batters the Carolinas

Three days, two bands, two states, and three shows.

That was the scene when New Monsoon and Tea Leaf Green, two acts from San Francisco, made their way across the country to the Carolinas.  Playing together on one night and separately on the surrounding days, it was a great few days of music.

Tea Leaf Green kicked things off with a show at the Pour House in Charleston, South Carolina on Thursday, March 15.  They played two full sets, hitting all eras of Tea Leaf-dom.

The first set opened with a big segue, starting with "Looking West," moving into the anthem off of Taught to be Proud, "Ride Together."  The jam made its way to Woody Guthrie's "Hard Travelin'" and then back to "Ride Together."   Later, the instrumental "Franz Hanzerbeak" was the meat in a "Panspermic De-evolution" sandwich.




"I Got No Friends in Arizona," started the second set, which went instrumental with "Georgie P."  The band went back to Midnight on the Reservoir, with "Papa's in the Backroom" which segued into "Death Cake," that moving into "Dragonfly," before closing the set with two offerings from TTBP, "Pretty Jane" and the title track.  The show closed with "Criminal Intent > If It Wasn't for the Money."

The next night, Tea Leaf Green crossed the border to the other Carolina, meeting up with fellow San Fran act New Monsoon in Charlotte at the Neighborhood Theater.

New Monsoon is currently touring as a five-piece, as percussionists Brian Carey and Rajiv Parikh both take time off the road to be with their families and respective new babies.  The result is a Monsoon of a different sort; gone is the world music vibe that Carey and Parikh brought to the table.  In its place, a more rock-and-roll vibe.

The band immediately showed it, opened the show with the wailing guitar and pounding drums of "On the Sun."  The tempo slowed down a during "Song for Marie" but it ended with a great guitar solo from Jeff Miller.  "Water Vein" showed the band's bluegrass side, and the band shined.

"Greenhouse" had catchy, fun lyrics, and "Romp" featured some great playing on banjo by Bo Carper.  "Copper Mine" is some good 'ol southern rock, with hard driving guitar and great lyrics. 

"Double Clutch" was filled with guitar riffs and chords that lead into some heavy improvisation from all the band members, including a great bass solo from Ron Johnson, and segued into "Another Night in Purgatory."  "Bridge of the Gods" ended New Monsoon's set.

Tea Leaf Green is known for its great lyrics, solid vocals, and excellent guitar playing.  They started the night off with the melodic "Garden (Part I)," emphasizing Trevor Garrod's keyboard, and then Josh Clark put his stamp on the "The Garden (Part III)" when he let loose with a great guitar solo.  The second part of the Garden trilogy, the aptly-named "The Garden (Part II)," started off with a jam that sounded like Shakedown Street and quickly morphed into a psychedelic keyboard groove and the night's first stand-out guitar solo.  "7th Story" segued into "Morning Sun " to bring the tempo and energy level up to leave the crowd buzzing before the set break.

"Incandescent Devil " opened the second set and featured the harmonica playing ability and excellent singing of Trevor Garrod, then moved into a phenomenal Jezebel, replete with great improvisation, wailing guitar, high notes on the keys, and pounding drums. 

One of the highlights followed, as the band left Trevor alone on stage for a solo rendition of "I've Got a Truck" and the Grateful Dead’s "Brokedown Palace." 

The night's next great jam came shortly thereafter, as New Monsoon’s Jeff Miller and Phil Ferlino joined Tea Leaf Green for a great rendition of "Criminal Intent," filled with lots of hard hitting, heavy rock guitar solos and improvisational riffs from the keyboards.



Things slowed down with the beautiful lyrics of the gently-sung "These Two Chairs," while "Bouncin’ Betty" featured some great rock vocals and with that, Tea Leaf Green closed out the set.  The band encored with the exceptional rock instrumental "Franz Hanzerbeak."

New Monsoon and Tea Leaf Green parted ways in Charlotte, with the former heading across the border to Charleston and the Pour House.

St. Patrick's Day had the freaks out en masse, and the Pour House was packed with revelers.  New Monsoon had the stage to themselves, and over the course of the night, celebrated the holiday with their brand of rock.

The show opened with the high-paced "Patato's Mission" before delving into their latest release, The Sound, with "Dark Perimeter." 

"Southern Dew" was downright nasty and exactly like its name – it easily could have come from the songbook of the Allman Brothers, the quintessential "Southern" band.  Jeff Miller's electric guitar and Carper's acoustic took turns soloing before meeting back to intertwine as the song came to an end.  The set closed with the frenetic "Traveling Gypsies," and the band left the stage for a quick breather.

"Bottle of Red Wine," made famous by Eric Clapton, opened the second set.  "Greenhouse" was phenomenal, and there was a great bluegrass jam that led into "Velvet Pouch."  

Miller's guitar and Carper's banjo kicked off "Rattlesnake Ride" and the band broke into a full-on jam with a mouse-eared Marty Ylitalo's kick drum keeping a steady beat as Ferlino's keyboards kicked in to pepper the song with faint hints of the Middle East.  While the song was great, it definitely was one of the areas where what Carey and Parikh bring to the table were missed.




After "Rock Springs Road" and "En Fuego," the band adjourned before returning for an encore of "Stagger Lee" and "Blast."  With that, the New Monsoon St. Patty's Day celebration came to an end.

All in all, the Carolinas were given a taste of some of the best San Francisco has to offer over three great nights, in two states, by two bands.


Proceed to photo galleries & set lists with the link below{mospagebreak} 


Tea Leaf Green, Charleston, South Carolina at the Pour House, 3/15/07

Set 1: Looking West > Ride Together > Hard Travelin' > Ride Together, Gasaholic, One Reason, Moonshine, I'm Not Fit, Panspermic De-evolution > Franz Hanzerbeak > Panspermic De-evolution, Piss It Away, The Garden (Part III)

Set 2: I Got No Friends in Arizona, Sex in the 70's > Hot Dog, Faced with Love, Georgie P, Papa's in the Backroom > Death Cake > Dragonfly, Pretty Jane, Taught to be Proud

Encore: Criminal Intent > If It Wasn't for the Money



Photos by:

Tea Leaf Green, 3/15:  John Smoak, smoakstackstudios.com

Tea Leaf Green/New Monsoon, 3/16: Brad Kuntz, www.pbase.com/ratsnest74

New Monsoon, 3/17: Josh Mintz, photosbyjosh.com  

10 Questions with…Jeff Miller

Inspiration is passed to us through the bloody sweat of nobodies and the quiet dignity of underground artists whose trials and tribulations allow them to grow and to understand themselves, and for those who remain stout upon their principles, to become one of those all important shards of porcelain, glass, or pebble.


As eras pass they will be studied via the few surviving tales that remain intact.  And while the mystery of life requires that a few pieces be missing to keep we troglodytes interested enough to hold our attention upon advancement, it is the shattered puzzle of mosaic stories that form our cultural icons. Icons raised by a collection of individuals and not those raised by the mobs at market are strong enough to test time’s degrading march, able to be passed down to the minds of the next generations.  Enter The New Riders of the Purple Sage, a band known by the shard-missing story of Grateful Dead coat-tailer.  But layers are still unfolding, because David Nelson and Buddy Cage linger upon the adventure.

Continue reading 10 Questions with…Jeff Miller