Doug Collette

With the release of Sangam & Friends , saxophonist-flutist pays homage to his kindred spirit and longtime collaborator, tabla master . Not that any

Watching a musician perform solo vividly illustrates how difficult it is to play music well.

Scrutinizing the titles within the various Grateful Dead vault series, including Dick’s Picks, Road Trips

Released four decades ago, R.E.M.’s third full-length album, Lifes Rich Pageant (released 7/28/86), represented a willful if cautious nod to the mainstream. Conducted in collaboration with producer Don Gehman, who had made a name for himself working with John Mellencamp, the album was recorded at the latter’s studio in Indiana and came enclosed in a package adorned with the first cover art featuring the visage of one of the group.

J.P. Reali’s Grateful Blues may not seem a wholly original thought, at least upon a cursory glance, given Luther Dickinson and Datrian Johnson’s vividly wrought Dead Blues Volume I, released late in 2025.

Ron Howard’s excellent documentary film, The Beatles: Eight Days a Week – The Touring Years,

With various and sundry activities spanning the continental United States, from Woodstock to San Francisco and in between, guitarist-songwriter is something of a master of space and time.

The contemporary blues community is densely populated with posers long on affectation and short on authenticity.

Cover bands abound within contemporary music circles, both on stage and in the studio.

At the time of the original release of Gov’t Mule’s High & Mighty album twenty years ago (released 8/22/06), some wags trenchantly observed, ‘This is SO Zeppelin?!?’ And, sure enough, within two years, the band had performed, recorded, and released their interpretation of Page, Plant, and Company’s 1973 outing Houses of the Holy, in its entirety, as Holy Haunted House (with guest guitarist Audley Freed).