7 Walkers

In light of the election this week, which seemingly favors self interest over the greater good of negotiation and collaboration, let's take a minute to revisit the Grateful Dead's "all for one and one for all" spirit of cooperation. Aside from the taping that they allowed their fans to do, which served to create a tribal audience sharing shows with each other, they branded their merchandise with an incredible eye. They created a series of logos that were unmistakable icons. They virtually invented viral marketing, and all this happened before the advent of the internet. Plus, they took care of their co-workers with health care, insurance, retirement, and college plans for their offspring; a very enlightened way to profit share. At its height, the Grateful Dead employed 80 people, and they all stayed on the payroll between tours. And for as hippy dippy as they appeared, they had a board of directors with rotating CEOs. All of their papers, letters from fans, and other documents and artifacts will be on display, as The Grateful Dead Archive is opening at the University of California Santa Cruz. That might just call for another trip out west!

7 Walkers is the new project from an amazing aggregation of seemingly disparate musical influences: solid as a rock Grateful Dead drummer Bill Kreutzmann, swampy voodoo guitarist Papa Mali, George Porter Jr. from the Meters and Matt Hubbard of Fastball and Willie Nelson's band. No Depression notes, "7 Walkers self-titled debut is the best studio album featuring a member of the Grateful Dead since American Beauty was released in 1970…it’s an album of instant classics that will have enduring appeal..." Bill Kreutzman's mother was raised in the Cresent City, and Shreveport's Papa Mali made frequent trips there growing up, so this album is a self-proclaimed "open love letter" to the city of New Orleans. It features some newly penned tunes from Robert Hunter (Grateful Dead and Bob Dylan lyricist) that were co-written with the band, and there is also a guest performance by Willie Nelson on "King Cotton Blues." Listen for some kickin' instrumentals, too. The end result is a funky collection that melds into a unique collaboration. Make sure you check their website for tour dates. Meanwhile, here is a promo video on the making of the album.

- Jessie Scott

Eric Brace & Peter Cooper "Suffer a Fool"

I was in the kitchen, preparing dinner, thinking about how it summons memories. I was cooking chicken with capers, artichokes, and mushrooms with oregano, basil, and parsley. Garlic and shallots. Yum. Thinking about my Mom, who always made sure to serve an appetizer course: melon in summer, grapefruit in winter; tomato juice if the fruit wasn't worthy. It was a three course meal every night. This also makes me think of my son, who learned early to use a French Chef's knife to slam garlic cloves. And who acquired a deft sense for seasoning, and is not afraid of the creativity. The decades march with skills handed down, food as connective tissue between the generations.

I am listening to perfect food prep music; Eric Brace and Peter Cooper doing the song "Suffer a Fool," which is from their new Master Sessions CD. It is an album that has an authentic 70's sound in the very best way, that honors the tradition being true to the flavors, the textures and the composition. And oh, the glorious pedal steel, provided by instrumental hero Lloyd Green, and the incredible Mike Auldridge on dobro. Oddly enough, though both these guys were admirers of each other, until this album, they had never been together on one. This is one of two CDs that have just come out, Eric and Peter putting their names on the first, Master Sessions, and Peter Cooper with Lloyd Green on the second, The Lloyd Green Album. I just cruised through that, too. Pay special attention to "The Last Laugh," a co-write between Peter and Todd Snider. Hell, buy 'em both!

When we are in the force field of the same event, or the general geographic city or region of Eric Brace and Peter Cooper, they have a standing invite to come before the Music Fog cameras. We like them to bat clean-up. Though this time, we had to settle for it being just on the last day, not the very last set. It was Saturday morning at the Sweet Suite in the Sheraton Nashville Downtown, during Americana Fest. They didn't bring the gang, just their enigmatic selves, and that is always a treat in itself.

- Jessie Scott

Asleep at the Wheel Celebrates 40 Years

In a long ago and far away universe, almost another lifetime, I was a country DJ on the air in New York City. 1050 WHN became a country station in 1973, and as a New Yorker, I was totally surprised. It was a mystery to me if there were actually any country listeners in the Tri-State area. In 1975, it was my honor to join the WHN staff to do the evening show, and I immediately started hitting the clubs to see what there was of a country scene. I found it, with Freddie The German Cowboy at The Blue Ribbon Inn in Hillside, New Jersey, and Hugh O'Lunney's on 2nd Avenue at 48th Street in New York. And when the Lone Star Café opened in a former Schraftt's Restaurant (where prior, ladies in white gloves lunched) at the corner of 13th Street and Fifth Avenue, I was hooked. I became a regular there, with Mort Cooperman's imaginative bookings, which included regulars Greasy Wheels, Kinky Friedman, James Talley, and many more. Later, more clubs popped up; City Limits in the Village, Cody's in Chelsea, and WHN started partnering to promote shows at Carnegie Hall, Madison Square Garden, and even Giant's Stadium. When that started happening, we knew that country had taken root in New York City. But for me, those early days of discovery were the most exciting. Traveling a path with my compatriots, a merry band of believers. Playing music I loved on the radio. Back in those days, "The Letter That Johnny Walker Read," was in heavy rotation from a group called Asleep At The Wheel, who also were frequent visitors to the stage at The Lone Star. I fell in love with the cool voice of Chris O'Connell, the unique persona of Ray Benson, and the pure energy the band brought.

Armstrong Community Music School, AustinThe Wheel has released more than twenty studio albums, have placed more than twenty singles on the Billboard country charts, have been awarded nine GRAMMYs, and have had 80 members through their history. Here it is, 40 years later. Not many bands can claim that record. Tonight, Asleep At The Wheel celebrates that feat with a gala concert at The Long Center in Austin. Willie Nelson, Leon Rausch of The Texas Playboys, and Wheel alumni will be on hand. The night is a benefit for the Austin Lyric Opera which runs the Armstrong Community Music School; the evening is part of Opera Stampede, a week of education, music, and events. Click here to purchase tickets for tonight's show. And here is a taste, with "Oh! You Pretty Woman," from Willie and the Wheel at Austin City Limits in 2009.

- Jessie Scott