Gov't Mule (pronounced "Government Mule") is an American Southern rock jam band, formed in 1994 as a side project of the Allman Brothers Band by guitarist Warren Haynes and bassist Allen Woody. Fans often refer to Gov't Mule simply as Mule.
When the Allman Brothers Band reformed in 1989, partially in response to the popularity of their Dreams box set, Warren Haynes was added as a permanent lead guitarist and vocalist, and Allen Woody was recruited as bass guitarist. The two shared a love for 1960s power trios like Cream, the Jimi Hendrix Experience, the James Gang, and Mountain.[1][2] Haynes, Woody, and drummer Matt Abts, who played with Haynes in Dickey Betts' band, came together as Gov't Mule during Allman Brothers breaks. They released their debut album Gov't Mule, produced by Michael Barbiero, in 1995. Live at Roseland Ballroom was released in 1996, consisting of their 1995 New Year's Eve set opening for Blues Traveler.
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The next year, Barbiero, Haynes and Abts began to record a tribute album.[6] using some of Woody's favorite bass players. These sessions resulted in two CDs The Deep End, Volume 1 (2001) and The Deep End, Volume 2 (2002). A documentary of the recording sessions was also made by Phish bassist Mike Gordon called Rising Low. Bass contributions to the CDs came from Jack Bruce, formerly of Cream, John Entwistle of the Who, Mike Watt of Minutemen, Les Claypool of Primus, Flea of the Red Hot Chili Peppers, Chris Squire of Yes and Stefan Lessard of Dave Matthews Band among others.
A revolving door of keyboardists and bassists were used to fulfill touring engagements in support of the Deep End recordings. Keyboardists included Chuck Leavell, Rob Barraco, Page McConnell and Danny Louis. Bassists included, among others, Dave Schools of Widespread Panic, Oteil Burbridge who already had filled Woody's former place in the Allman Brothers, Les Claypool of Primus, Victor Wooten of the Flecktones, George Porter Jr. of the Meters, Jason Newsted (formerly of Metallica), Greg Rzab formerly of the Black Crowes and the Buddy Guy Band, and Andy Hess, also formerly of the Black Crowes. Louis and Hess were eventually named as permanent members[7][8] of Gov't Mule.
On June 28, 2008, while keyboardist Danny Louis was drafted by Cheap Trick[11] to revisit Sgt. Pepper at the Hollywood Bowl, Gov't Mule performed as a power trio[12] for the first time since 2000, this time with its regular bassist Andy Hess. The band titled their set "Old School Mule" and ran through some of their older songs such as "Wandering Child" and "Thorazine Shuffle."
On September 15, 2008, Haynes' wife, Stefani Scamardo [13] announced on her Sirius radio show[14] that Andy Hess would be leaving the band and a new bassist would be in place for the fall tour. Hess was subsequently replaced by Jorgen Carlsson,[15] who had been rehearsing with the band for six months.
Gordon signed to Blue Note in 1961. He initially commuted from Los Angeles to New York to record, but took up residence when he regained the cabaret card that allowed him to perform where alcohol was served. The Jazz Gallery hosted his first New York performance in twelve years. The Blue Note association was to produce a steady flow of albums for several years, some of which gained iconic status. His New York renaissance was marked by Doin' Allright, Dexter Calling..., Go!, and A Swingin' Affair. The first two were recorded over three days in May 1961 with Freddie Hubbard, Horace Parlan, Kenny Drew, Paul Chambers, George Tucker, Al Harewood, and Philly Joe Jones. The last two were recorded in August 1962, with a rhythm section that featured Blue Note regulars Sonny Clark, Butch Warren and Billy Higgins. Of the two Go! was an expressed favorite.[5] The albums showed his assimilation of the hard bop and modal styles that had developed during his years on the west coast, and the influence of John Coltrane and Sonny Rollins, whom he had influenced before. The stay in New York turned out to be short lived, as Gordon got offers for engagements in England, then Europe, that resulted in a fourteen-year stay.[4] Soon after recording A Swingin' Affair, he left the United States.
From this period come Our Man in Paris, One Flight Up, Gettin' Around, and Clubhouse. Our Man in Paris was a Blue Note session recorded in Paris in 1963 with backup consisting of pianist Powell, drummer Kenny Clarke, and French bassist Pierre Michelot. One Flight Up, recorded in Paris in 1964 with trumpeter Donald Byrd, pianist Kenny Drew, drummer Art Taylor, and Danish bassist Niels-Henning Ørsted Pedersen, features an extended solo by Gordon on the track "Tanya".
Gordon finally returned to the United States for good in 1976. He recorded "Biting The Apple" for SteepleChase during his homecoming, an album featuring pianist Barry Harris, bassist Sam Jones, and drummer Al Foster. In 1977 the album received the Grand Prix de Disques at the Montreux Jazz Festival in Switzerland. He appeared with Woody Shaw, Ronnie Mathews, Stafford James, and Louis Hayes, for a gig at the Village Vanguard in New York that was dubbed his "homecoming." It was recorded and released by Columbia Records under that title. He observed: "There was so much love and elation; sometimes it was a little eerie at the Vanguard. After the last set they'd turn on the lights and nobody would move."[11] In addition to the Homecoming album, a series of live albums was released by Blue Note from his stands at Keystone Korner in San Francisco during 1978 and 1979. They featured Gordon, George Cables, Rufus Reid, and Eddie Gladden. He recorded the studio albums Sophisticated Giant with an eleven piece big band in 1977 and Manhattan Symphonie with the Live at Keystone Corner crew in 1978. The sensation of Gordon's return, and the continued efforts of Art Blakey through 1970s and early 1980s, have been credited with reviving interest in swinging, melodic, acoustically-based classic jazz sounds after the Fusion jazz era that saw an emphasis on electronic sounds and contemporary pop influences.
Gang Starr was an American hip hop duo, consisting of Texas record producer DJ Premier and Massachusetts rapper Guru.[1] For the entirety of their association, they were based out of Brooklyn, New York. Gang Starr was at its height from 1989 to 2003, and are considered one of the best MC-and-producer duos in hip hop history.[2][3] They are recognized for being one of the pioneers of jazz rap.[3] Some of their top hits include "Mass Appeal", "Take It Personal", "Moment of Truth", "Full Clip" and "Above The Clouds".[4]
The Roots originated in Philadelphia with Ahmir "Questlove" Thompson and Tariq "Black Thought" Trotter while they were both attending the Philadelphia High School for the Creative and Performing Arts.[8] They would busk out on the street corners with Questlove playing bucket drums and Black Thought rapping over his rhythms. Their first organized gig was a talent show in 1989 at the school where they used the name Radio Activity, which began a series of name changes that progressed through Black to the Future and then The Square Roots.[9] Another MC, Malik B., and a permanent bass player, Leonard "Hub" Hubbard, were added to the band before the release of their first album. In 1992, they dropped the "Square" from "Square Roots" because a local folk group had claim to the name.
The 1996 release Illadelph Halflife was the group's third album and their first to break the Top 40 on the Billboard 200 chart,[10] spurred in part by MTV's airplay of the video for "What They Do" (a parody of rap video clichés)[12] and "Clones", which was their first single to reach the top five on the rap charts. The band added "What They Do" was also the group's first single to hit the Top 40 of Billboard's charts, reaching a peak of No. 34. Scott Storch left the band and was replaced by a new keyboardist, Kamal Gray. The band's sound would take a darker turn during this period, heavily influenced by the Wu-Tang Clan and the RZA's grimy and haunting production style, replete with samples from old jazz and classical music. The album is also notable for its many guests and collaborators, including Common, D'Angelo, Q-Tip, and others. These collaborations would provide the foundation for the creation of the Soulquarians and forged the Roots' association with the neo-soul subgenre. 2ff7e9595c
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