Michael  Falzarano

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Jambands.com 11/11/2008

We Are All One - Michael Falzarano / Woodstock Records
By Brian Robbins

Michael Falzarano has been holding down the fort for a long time. Over the years he’s been the “Bobby” rhythm guitar figure to the “Jerry” lead played by Jorma Kaukonen (Hot Tuna) and David Nelson (New Riders) -– at least as far as the always-there-with-the-rhythm-no-matter-how-crazy-the-jam-gets role. (Forget the showboat rock star Weir stuff, though … that just ain’t Michael’s style.) Although folks may know his name, they may never have taken in Falzarano’s knack for pulling an ensemble together, which he does not with a heavy hand, but rather with a solid groove and a smile.

Past projects (the Memphis Pilgrims and the solo 2005 King James Sessions) have proven Michael’s talent as a bandleader, but his latest release, We Are All One, is the best yet. And although the album features a revolving cast of characters recorded over a long period, it sounds like the result of a bunch of old friends sitting down one evening and going for it with the tape rolling.

The album-opening “Why I Love You I Can’t Explain” explodes with all the joy of a late-'80s vintage Jerry Garcia Band show, and there’s good reason for that: give him room, folks, that’s Melvin Seals hisself on the B-3. Big Melvin makes several appearances on We Are All One, including the title track. In typical Falzarano fashion, there’s no heavy message here, but just an attempt to get the people of the world to realize, as the man says, “We are all one – mother, father, sister, brother, daughter, son.” The song gets revisited acoustically later on, featuring some beautiful mandolin by Jimmy Fleming.

There was only one Vassar Clements and, luckily, Michael spent some session time with the fiddle master before his passing in 2005. Clements weaves and bobs with Kerry Kearney’s wild-ass guitar on “It’s My Own Fault” and the old Rev. Gary Davis classic “Candy Man”. And Falzarano’s “When There’s Two There’s Trouble” sounds like it was written solely for the purpose of letting the “Father of Hillbilly Jazz” wail.

New Riders pal and pedal steel monster Buddy Cage makes several appearances, including the haunting “New Shirt” when the steel takes the lead over a chugging rhythm guitar/bass/drum foundation. “Last Train Out” is to Michael as “Soulshine” is to Warren Haynes-–though we’ve heard it before, it never gets old. This arrangement of Falzarano’s tribute to late Gov't Mule bassist Allen Woody features Professor Louie and The Crowmatrix with the always-amazing Garth Hudson on keyboards.

And – icing on the cake – we get to share an early-AM-in-the-studio moment with Buddy Cage laying down some other-worldly pedal steel over a first time/first take Michael instrumental, “Gonna Power Down Now.” (Those were the words of the engineer just as Michael began an instrumental idea that was in his head. The rest of the band joined in – and, luckily, the engineer hit “record.”) Even though there’s no one core group of musicians throughout the album, We Are All One is held together by the good Falzarano karma. This is definitely his album, no matter who sits in where -– and, in the end, the man proves his point: given the chance, we are all one.

The Grateful Web 10/8/2008

Michael Falzarano – We Are All One / Woodstock Records

By Sanjay Suchak

Michael Falzarano is like a hidden hand, we’ve all heard his music, but many would be surprised by his musical resume.  So it might be helpful to start with Michael’s past in order to explain how his new album came to be.  For over 35 years Falzarano has been a member of some of the more influential groups in jam-band history.  He founded his own band, The Memphis Pilgrims, but also has been a member of Hot Tuna, the New Riders of the Purple Sage, and has played with everyone from members of the Grateful Dead and The Allman Brothers to Dr. John, Trey Anastasio, and Bruce Hornsby.  The influences of these musicians are clear in his new album We Are All One.

Considering his impressive resume, it’s no surprise to learn that he’s assembled a cast of legends to contribute to the recording process.   Don’t get me wrong, it’s Falzarano’s songwriting and performance that makes this album a gem, but the cast of musical visionaries simply adds that extra layer of shine.  Some contributors include the late Vassar Clements, Melvin Seals (JGB), Buddy Cage (NRPS), Jorma Kaukonen (Hot Tuna/Jefferson Airplane), Garth Hudson (The Band), Professor Louie, Pete Sears, and over a dozen more top notch musicians.

The album is potluck of various genres and musical styles.  While this can be a risky proposition for many musicians, Falzarano handles this with precision and grace crafting the entire album as a gradual transition from style to style.  It’s a method which I think serves his style of songwriting very well.

With that said picking highlights of this album is quite a challenge since the entire album does not have one song which caused me to reach for the fast forward button.  However there are a few songs which I find myself liking more each time I listen to them.   “Sweet Marie” with its catchy yet simplistic lyrics, contagious organ and guitar riffs helps add to the strong start of the album.  “Candy Man” a more basic stripped down song has the majority of the song being carried mostly by Falzarano’s vocals and Vassar Clements’ fiddle creating a duet between man and instrument.  “It’s Just My Way” is a great tune which standalone would have been fantastic, but adding Jorma’s lead guitar and Dave Castiglione’s saxophone give it that extra polish and make it extraordinary.   Other highlights include “When There’s Two There’s Trouble” and “Crazy Days.”

To be honest though, my favorite song on the album has to be “To Let the Fire Die.”  This is the one song on the album that reached out and made me completely stop what I was doing and just listen.  This song is a bit slower and more reflective than all songs up this point and it speaks to something all of us have experienced at one point or another in our lives, making a strong connection with the listener.  Not only does it make that connection but it was well crafted with just the right amount of solos and instrumentation but with engaging lyrics and vocal intonation.   With such a distinctly different type of song than the rest of the album, perhaps Falzarano stepped out of his comfort zone with this one, but whatever he did, he’s doing it right. 

The album rounds out with a thoughtful acoustic number which is also the album’s title track “We Are All One,” which as the title suggests implores us to realize that we aren’t that different than each other and to get along with each other for once.

The thirteenth track is a tribute to Allen Woody, the late bassist for Gov’t Mule, and was previously recorded in 2005 for his solo project The King James Sessions.   The album ends with the only instrument song on the album “Gonna Power Down Now” which just as the title suggests lets the listener unwind and think about all that’s been said on the album.

Picking out highlights of this album was a very hard thing to do, not because there were none, but because the whole album was consistently a very listenable one.  We’ve all heard albums where there are only a few decent songs and the rest is filler, this is clearly not the case here.  The album is a grower; it’s the type of album that each time you listen to it you hear something new that you’ll love.  Unfortunately the album’s greatest strength is also its biggest weakness.  With being such an even album with only (in my opinion) one song that jumps above the rest, the casual listener might dismiss it as generic and at times it can.  Lyrically Falzarano falls a bit short on a few songs, however this is not an album carried solely on its lyrical prowess and therefore it is not really a huge shortfall.

I’m going to give Michael Falzarano’s album We Are All One four stars out of five, for being an extremely well produced, well written, and exceptionally performed album.  The shortcomings that I saw were minimal and I certainly look forward to hearing more from Michael.  The album is released on Woodstock Records and can be purchased directly from them or through your favorite online retailer or local music store.

Media Matters 10/20/2008

Michael Falzarano – We Are All One / Woodstock Records

By Eric Alterman

It's interesting, but for me, the real find in this genre is this record by Michael Falzarano, apparently his third one. It's called "We Are All One," and it's on Woodstock records. Twelve of the 14 tracks are his, and there are some of the last known studio recordings of the late fiddle virtuoso Vassar Clements. Falzarano was in Hot Tuna on and off for 20 years, and recently has been touring with the reconstituted New Riders of the Purple Sage. If you like those two bands, this is going to be hard to resist.

Aquarian Weekly 11/19/2008

 By Martin Halo

Also appeared in

The DMW News -The Waster.com 11/02/2008 By Martin Halo

Michael Falzarano – We Are All One / Woodstock Records

With his twenty plus year stint in Hot Tuna and now touring with the New Riders of the Purple Sage, Michael Falzarano is hardly a stranger to the American music industry.  A member of Jefferson Airplane & Grateful Dead spin-offs, his melodic vocals drive honest songwriting grace.  Now with the release of his third solo effort, We Are All One, on Woodstock Records, Falzarano have found a groove buried in the jam side of outlaw country. 

“Why I Love You I Can’t Explain” kicks things off in a good times barroom atmosphere with Falzarano’s vocals a mix of Elvis Costello and Bill Payne.  A little funk pushes “Sweet Marie”, while bluegrass tells the story of the “Candy Man.”   ‘I wish I was in New Orleans sitting on a Candy stand,’ Falzarano sings.  Clean guitar runs are the highlight of this number.  A sensual saxophone leads “It’s Just My Way,” which is a number about doing things to the beat of one’s own drum. 

In support, Falzarano brought in the friendship expertise of Buddy Cage, Melvin Seals, Vassar Clements, Garth Hudson, and Jimmy Eppard and others.

Another strong track is that of “When There’s Two There’s Trouble,” with Falzarano’s melody lines a pleasure to the listening ear.  It has the hospitality of a little country and a little rock n’ roll. 

“New Shirt,” sports spacey twang, while the acoustic title track is a truckin’ number of virtue in major.  “Last Train Out” caps the record in memory to Gov’t Mule bassist Allen Woody. 

I feel as though the record doesn’t do the chugging rhythms of a live setting justice.  We Are All One is packed with the kind of numbers that will lend to memorable live performances.  They are loose, they are packed with musical expression, and lend to a hip shake or two. 

The Purply Grotto 11/06/2008

Michael Falzarano – We Are All One / Woodstock Records

By Purply Bob

Here's a MP3 file of an interview I did with The Purply Grotto. If you don't know about the P.G. website you should check it out

Just click the link below

http://www.purplygrotto.com/html/modules.php?name= News&file=article&sid=189&mode=&order=0&thold=0

The Westword Music News 11/07/2008

Michael Falzarano – We Are All One / Woodstock Records

By Nick Hitchinson

Michael Falzarano, We Are All One (Woodstock Records). Michael Falzarano blends well with others, as evidenced by this release, which finds him collaborating with Melvin Seals, Jorma Kaukonen, the late Vassar Clements and Garth Hudson. Songs like "Why I Love You I Can't Explain" highlight Falzarano's top-shelf songwriting, gritty guitar and Elvis Costello-like croon, while deeper cuts pile up more gravelly soul.

Billboard.com 11/09/2008

Michael Falzarano – We Are All One

By William Ruhlmann, All Music Guide / Woodstock Records

Rhythm guitarist Michael Falzarano is a member in good standing of the musical communities of Marin County, CA, and Woodstock, NY, which has brought him steady work with some of the better known musicians of those areas, including stints in latter day configurations of Hot Tuna and the New Riders of the Purple Sage. For his solo albums, of which this is the third, he has no trouble getting his friends to sit in. Here, those friends include the late master fiddler Vassar Clements, in some of his final recordings ("It's My Own Fault," "Candy Man," "When There's Two There's Trouble"), Hot Tuna's (and Jefferson Airplane's) Jorma Kaukonen (lead guitar on "It's Just My Way"), Jefferson Starship's Pete Sears (piano on "It's Just My Way"), the New Riders' pedal steel player Buddy Cage ("New Shirt," "When There's Two There's Trouble," "To Let the Fire Die," "Gonna Power Down Now"), and the Band's Garth Hudson (keyboards on "Last Train Out"). The guests provide some of the instrumental highlights of the disc, but they are only icing on the cake. For the most part, Falzarano leads ensembles anchored by Harvey Sorgen or Ray Grappone on drums, Steve Rust or Pete Bennett on bass, Melvin Seals or Jon Marshall Smith on organ, and Jimmy Eppard or Kerry Kearney on lead guitar. His leadership consists of his sturdy songwriting and singing in a countryish, bluesy vein that will be familiar to fans of the Band and the groups of which he's been a member. His adequate voice is in the conventional rusty, adenoidal style, his tunes are blues and rock staples, and his lyrics touch on the misunderstandings of love and the need for universal brotherhood. The listener does not discover that Falzarano is an undiscovered major talent as a bandleader, but there seems little doubt that, if he were to venture out on a club tour with some of the sidemen who accompany him here, evenings of enjoyable music would result.

Robert Hunter 4/8/06
Just got back from the New Riders show at the Mystic in Petaluma. It sure took me back. Packed out house singing along lustily on songs they didn't know they loved so much and suddenly discovered they did. Friends crawled out of the woodwork for this one. Betty Cantor was there and Annette Flowers; Michelle, who is to the Riders what Sue Swanson is to the Dead, first fan and lifetime helper. Dan and Patty Healy both looking great. Ramblin' Jack Elliot spry, spare, ancient and smiling. Other faces half remembered but accounted for. An aura of Joy quickly established itself, similar to the first night of the Dead at Alpine on an intimate scale (a weird parallel I know, but there you go) - the resurrection feel, not repeatable on demand. The spirit bloweth where it listeth. Everyone realized pdq it was one of those nights destined to be remembered, what the music is all about, all it was ever about: love, magic and kick ass songs.

I spent the night on my feet way up front, soaking it all in. Finally went to the back of the house, dead on said feet, with Maureen and Kate to await the encore, which was, fittingly, the late Buck Owen's "Truck Drivin Man" a song no Riders show ever omitted to play. The band's manager spotted me seated in the rear of the Mystic, said the band wanted me to do the last number with them. I said I'd worn my voice out singing along with the crowd, which was true, not to mention not having been on stage since opening for the Dead & the ABB at the Gorge a century or two ago - but there was some part of "no" he didn't understand, as a good manager shouldn't, so without bothering to have my arm politely ripped out of the socket I went up and did it.

Long time since I've been on stage but I can always pull a Ripple out of the hat. How sweet it was to finally sing with the New Riders of the Purple Sage after nearly forty years. A deep emotional experience on the heels of one of the best NRPS shows I've ever seen, and I've seen a lot of them. Old Nelson had tears in his eyes, Buddy sitting there like a great glowing Buddha of the pedal steel. Old home night in the 21st Century. The ghosts of Spencer Dryden, Dave Torbert, Skip Batten and Dale Franklin singing along on the chorus, JG present in the melody itself.

The missing Marmaduke seemed supernaturally imminent in the voices of Michael Falzarano of Hot Tuna, whose rhythm guitar is simple and absolutely superb, and of Ronnie Penque and Johnny Markowski who acquitted themselves with honors. Each of the three is capable of believably copping the Dawson style without which it wouldn't be the Riders. So much so that it seemed like a chorus of Marmadukes on the harmony parts! I won't even get into what a storm Nelson picked on his Telecaster, and of course, Buddy is Buddy. Nuff said. If this sounds like a rave review, so be it. Go get 'em Riders!

Hitting the Note April/08

Few bands had as much impact on the country-rock movement of the early '70s as the New Riders of the Purple Sage, America's premier psychedelic cowboy band. Originally created as a Grateful Dead side project so that Jerry Garcia could get his pedal steel fix, the band took on a life of its own after Garcia left. They gave the world such great tunes as "Panama Red" and "Henry," and lead singer David Nelson and pedal steel wizard Buddy Cage became cornerstones of the Americana and jam scenes.

Fast forward to 2006, and NRPS decides to get back together after years of inactivity. Founding member John "Marmaduke" Dawson is unable to tour because of health issues, but Cage and Nelson are still going strong. Former Hot Tuna guitarist Michael Falzarano and the rock-solid rhythm section of Ronnie Penque on bass and Johnny Markowski on drums (both formerly of Stir Fried) round out the band.

The group and their fans quickly realized that the old magic was still there, and when they played an intimate gig at Turkey Trot Lodge in upstate New York, they decided to film a live DVD, Wanted: Live at Turkey Trot, to capture the excitement of the reformed NRPS.

Capture it they did! From the red-hot version of "Lonesome L.A. Cowboy" that opens the disc to the epic 16-minute "Garden of Eden," the band is Hittin' the Note throughout. Buddy Cage gives a clinic on pedal steel, showing why he is a legend on the instrument. David Nelson is grizzled charisma personified, whether telling the classic story of "Panama Red" or ripping a solo on "Portland Woman" that is equal parts bluegrass, country and rock and roll.

Hittin' The Note

Michael Falzarano - The King James Sessions

Blues Planet Records BPCD 8426

By John Lynskey

From 1983-2002, Michael Falzarano's distinctive guitar work and rough-hewn vocals were essential components of Hot Tuna, as well as all the Jorma Kaukonen solo projects, but on The King James Sessions, Michael charts his own musical course and reaches a worthwhile destination.  "Catfishin' " is a fun-loving opener, with a real down-home feel to it, while "I Know You Rider"  tips its hat to Michael's Hot Tuna days, but a nasty, gritty tip it is. The blues of the Mississippi Delta soak through "Crossroads Avenue"  with nice picking and earthy vocals by Michael and timely piano fills from Pete Sears, his old Tuna buddy. "These Colors Don't Run" is a patriotic rocker, and then comes the soulful lament, "Honey I just Want You." The aching ballad "The Long Road Home" falls in line with Michael's Tuna classic, "Gypsy Fire," as does "I Ain't Taking My Boots Off Here"  which is ten minutes of winding, delicate beauty.  "Soul Searchlight" has a lovely gospel tinge to it, directly in the mold of The Band's version of [Bob Dylan's] "When I Paint My Masterpiece." "Last Train Out" is a somber tribute to Allan Woody, the late bassist for Gov't Mule and The Allman Brothers Band, and features Jason Crosby's tasteful violin work. The visceral determinatin heard in "One More Round" is the perfect closer to The King James Sessions, which is and album filled with real music, played lovingly - and enjoyed easily, from the first note till the last..

Relix Magazine

Michael Falzarano - The King James Sessions

Blues Planet Records BPCD 8426

By Rob O’Connor

Initially conceived as a quiet acoustic collection of modern blues, Hot Tuna/Memphis Pilgrims guitarist Michael Falzarano quickly found himself surrounded by too many friends not to make a boisterous, joyous noise. Cut live a floor above a Brooklyn music store, The King James Sessions is a seasoned music veteran’s tribute to the music that inspires and defines him. No curveballs are thrown. “I Know You Rider” is given a full-body workout. Allman Brother/Gov’t Mule’s Allen Woody is saluted (“Last Train Out”) and 9/11is never far from this proud New Yorker’s heart (“These Colors Don’t Run”). Light on innovation, strong on execution, Sessions captures inspired blues performances throughout as Charlie Wolfe’s harmonica proves throughout.

Blues Jam Fourm Mag.

Michael Falzarano - The King James Sessions

Blues Planet Records BPCD 8426

By  Mark "Dr.Blues" Gresser.

Yowsa, the driving rods are turning great driving wheels with coal being hurled into the open fiery maw by dervish firemen.  The music pours into the air with irresistible force as the great beast crosses the countryside, emitting shards of stellar sound and primal rhythm.  Falzarano strides down the steel rails of roots with genuine fervor.  There's no avoiding it, no averting the eyes, no closing the ears and no ignoring a CD of aural American iron.  It just happens that there is a fair piece of plucked iron going on, raspy delivery and purely powered funk driving this CD with a sound so real, so near, so entrenched that it deforms the time-space continuum of your soul as you hear it.  Acoustically programmed in a band format, Falzarano gathers no moss on this intrinsically magnificent rolling stone that is realized with rocking clarity.  So, what does it all mean, you query.  This is da bomb of blues CDs, peopled by the likes of Kerry Kearney and crew, Kane Daily, Professor Louie, Pete Sears, Alexis Suter and a whole host of Woodstock rootsters too!! The Devil, the Delta, fryin' catfish, hot blowing winds, NYC pride, cajun rhythms, the red-white and blue's gonna take you down Mr. terrorist man, love me or love me not, simple twists of fate, life stories and journeys, Blues, hoedown jamming, filigree of sound solos, deep to the heart majesty is it.  Oh man, what a record.  It's a Rosetta stone of roots that puts the wheels to the iron and pins down to the center.  Fabulous.  Absolutely killer.  9.5 snaves.     Blues Planet Records  BPCD 8426      2005

Kweevak Music Magizine

Michael Falzarano - The King James Sessions

Blues Planet Records BPCD 8426

By Laura Turner Lynch

Michael Falzarano is a multi-instrumentalist, producer, singer and songwriter based out of New York City. Michael has been playing music for over 35 years in a variety of bands including the legendary Hot Tuna for close to 20 years. The King James Sessions is a solo project that started out as an acoustic duo with fellow composer and musician Kerry Kearney. Falzarano and Kearney were recording tracks in a "great sounding room" using "old school" methods ( everybody playing together), yet somehow the album evolved and before Michael knew it a bunch of his friends, talented players armed with a diversity of instruments were in on the sessions. The end result was a dozen animated songs that convey the spontaneity and the live talent behind the music. Michael writes visual and vivid songs with a variety of instruments from Dobro to synth which add to their richness. Falzarano draws from a colorful pallet of genres including county, Dixie, rock and plenty of blues. The CD opens on a down home mood with 'Catfishin'. The up-tempo country-rock tempo and instrumentation casts just the right atmosphere and there are a variety of sounds to focus on too. 'New Season' features flavorful instrumentation with solos along with harmonizing vocals and a catchy rhythm. It's a great jam clocking in at close to seven minutes. 'Honey I Just Want You' is spicy blend of styles with a big dash of Dixie. 'Oh Kathleen' grabs you with its catchy Bo-Diddley groove yet the song travels quite a few musical roads as Michael, supported by backing vocals sings, with soul. The King James Sessions is a royal record!
Recommended Tracks: (1,4,6,8)

Blue Storm Music

Michael Falzarano - The King James Sessions

Blues Planet Records BPCD 8426

By Arnie Goodman

Two much-underrated Cd’s have come to our attention, John Mayall and the Blues Breakers, Featuring Walter Trout and Michael Falzarano, The King James Sessions ( member of Hot Tuna). Both should not be overlooked.

Poet Laureate / M. L. Liebler

I love the new CD (The King James Sessions). I listened driving back to Detroit yesterday.,  I really like the Boots narrative, the song for Woody "Last Train Out" and the last song "One More Round", Beautiful work!  You got great songwriting chops my brother.  This is Americana at its best!  Love It.

Chris Laporta / WUSB

Had the chance to listen to your new release The King James Sessions and it's a fine one.  Maybe we can get you up on The Bayou soon.

Downstate NY Blues Association

By Deb Dunn

I love your CD!!! It's great, specifically Crossroads Ave.  GREAT SONG!!!! I have put some of your songs on our radio show on 365 Live. I would also like to consider this CD for submission for the self produced blues CD down in Memphis, {at the Blues In Memphis Festival]........

 

 Selected Press Reviews For Michael Flazarano & The Memphis Pilgrims

The East Coast Rocker

 By Rob Patterson

“Speaking of roots:  later that Saturday night I caught two very promising examples of that at The Ludlow Street Cafe, a virtual two band twang-fest with Long Gone Daddies and Michael Falzarano & The Memphis Pilgrims.  The latter (and later) band, Memphis Pilgrims, were one hot to trot combo from the first note, their sound sparked by a fiery lead guitarist (Michael Slater) and the passionate sort of energy level that makes basic rock work and feel so special.  They have such an authentically Southern feel—read natural passion, seemingly lazy precision and raw authenticity—that one might mistake them for making the pilgrimage from Memphis rather than to there, because these guys are actually New Yorkers, and one of the best new Downtown bands I’ve seen in some time to boot.  The Memphis Pilgrims are simply and wonderfully a real rock ‘n’ roll band.”

Independents Daze

Michael Falazarano & The Memphis Pilgrims - Mecca

By Mick Skidmore

“Another welcome pleasure is Mecca (Relix) by the Michael Falzarano & Memphis Pilgrims.  The Pilgrims are a rootsy, Stax-style R&B and blues outfit led by Hot Tuna’s Michael Falzarano.  Falzarano comes across here as a much more confident and powerful singer than he does with Hot Tuna.  In fact, he is downright impressive.  Completing the band is fellow Tuna cohort Harvey Sorgen on drums, Steve Rust on bass and Jimmy Eppard on guitar.  This quartet delivers some wonderfully infectious, inspired and varied music that has the spirit and authentic feel of the city for which it is named.  The stark country stomper “Damned If You Don’t, Damned If You Do,” the evocative, soulful “Judge, I’m Not Sorry” and the spunky R&B of “Love Gone Flat” offer plenty evidence of that.  More than anything, this disc shows that Falzarano is an incredibly gifted songwriter with a wide musical vocabulary.  Helping out on several songs are Tuna’s Jorma Kaukonen and Pete Sears.”

Downtown Magazine

By R. Peterson

“Heading into the night, Memphis Pilgrims play the Rodeo Bar.  This is a band with enough moxie and guts to get your soul shakin’.  They’re more exciting and daring than similarly-minded acts like The Fabulous Thunderbirds, but the problem is:  who believes roots rock from New York?  I think it’s one of the city’s hottest untapped genres, and this band could be a leading light.”

Beat Magazine

Michael Falazarano & The Memphis Pilgrims - Mecca

By Eric Lambert

“Kick off your shoes and get ready to dance!  Mecca, the debut CD by Michael Falzarano & The Memphis Pilgrims, is chock full of good time, high energy performances and inspiring, infectious grooves.

The Memphis Pilgrims are a New York City quartet led by Hot Tuna guitarist Michael Falzarano.  These fellas may be born and raised in the city, but they have produced a collection of music steeped in rich southern tradition and heavily influenced by the early rock ‘n’ roll rhythm and blues of historic Memphis.

Joining Falzarano, who not only played guitar but sang and wrote all 12 songs on this disk, is Hot Tuna member Harvey Sorgen on drums, and fellow New Yorkers Jimmy Eppard on guitar and backing vocals and Steve Rust on bass and backing vocals.

Making guest appearances are the legendary Hot Tuna guitarist Jorma Kaukonen, current Tuna and ex-Jefferson Starship member Pete Sears on piano and accordion, Danny Lewis of Gov't Mule on Hammond organ and piano, David Castglione on sax, and Larry Packer on fiddle.

This CD grooves from one selection to the next.  The first number “It’s Over,” is very funky and features a screaming Danny Lewis organ intro.  The vocals are strong and the guitar hook sings like a bird.

“I Was The One” is a bar room rock ‘n’ roller featuring some great honky tonk piano and a rock solid back-beat. “I Want You Back” starts off with some cool rockabilly guitar a la Carl Perkins and Scotty Moore, and transforms into a thundering freight train boogie woogie that is highlighted by some great interplay between the guitar, fiddle and piano.  Falzarano digs deep and sings from the heart on every selection.

Mecca is one of those CD’s that just keeps ending up in my CD player.  Every time I play it I hear something new.  The recording is clean and the performance is live and energetic.  I find myself singing and dancing from the first song to the last.

I would hope that the Pilgrims have plans to tour simply because I would love to experience this great band in person.  Their music is gut level and honest, it smolders with grittiness and cool.  Congratulations to Michael Falzarano and the Memphis Pilgrims for one of the best CD’s I have heard in a long time.” (Rating:  9)

Journal of Trionic Physics

Michael Falazarano & The Memphis Pilgrims - Mecca

By Dan Paolino

The Pilgrims make a virtual hadj to their Mecca, Memphis, Tennessee. It's all here: faithless women, getting drunk, lonesome highways, the pain-in-the-ass boss. Pop Mecca into your car for that top down, first breath of spring, sunny afternoon cruising feeling (forget the Levi's ads; this is the real American experience). Some might call it "roots rock", but we don't believe in labels here at JTP. The Memphis Pilgrims are an honest, straight ahead, unaffected Rock and Roll band. Their sound is not ground breaking, in fact, it's pretty derivative - but so what! - this kind of authentic music is always hard to come by, especially when the record companies, radio stations and club owners (it couldn't be the fickle consumer, could it?) are always driven by the flavor of the month (anybody think the Spice Girls' next release will be dominated by raw, stark Delta Blues???).

Musically, the Memphis Pilgrims are a vehicle for Michael Falzarano. His guitar and voice drive all the tracks on the album, aided by Jimmy Eppard's sparse (but still smokin') solo runs. Danny Lewis of Gov’t Mule could be considered the "Fifth Pilgrim", since his bright, aggressive piano makes this a substantially better recording, particularly on songs like "I Was The One". Jorma Kaukonen plays on a few tracks; my ear is not sophisticated enough to absolutely identify his guitar, but there's a great slide part on "You Haunt my Soul" and a crunching solo on "Just My Way", and he plays on both. Pete Sears (piano and accordion), Dave Castiglione (sax) and Larry Packer (fiddle) also make some nifty contributions.

Harvey Sorgen produced, and he's done a great job integrating all these elements into the mix without compromising the integrity of the songs, or of the Pilgrims' sound. Getting a good sound from the drums is a crucial aspect of making a good rock and roll recording, and Harvey nailed that part, for sure. The music is crisp, clear, and up-front, and it's not watered down by excessive multi tracking. There's an acoustic foundation on most of these tracks that is nicely preserved despite the rave-up nature of these songs.

My two favorite cuts are "Kathleen", a tasty gumbo stirred by a New Orleans-style rhythm, and featuring a great Lowell George-like slide, Pete Sears on squeeze box, a cool fiddle solo, and more great piano from Lewis; and "Judge, I'm Not Sorry", a vividly produced slow blues number where the guitars (dobro, stand-up bass, and a echo-laden lap steel) sound like they're playing in your living room.

Daily Freeman

Michael Falazarano & The Memphis Pilgrims - Mecca

By Philp H. Farber

Mecca the first release from Michael Falazarano & The Memphis Pilgrims positions this roots-rock band firmly on the map, pointed to the Mecca of Memphis and not too far from their destination. Mecca as the album is appropriately titled, features 12 songs penned by Pilgrims/Hot Tuna guitarist Michael Falazarano.  The songs played in a comfortable yet technically excellent way by Falzarano along with Jimmy Eppard on Guitar, Steve Rust on bass and Harvey Sorgen on drums and making guest appearances are the legendary Hot Tuna guitarist Jorma Kaukonen, current Tuna and ex-Jefferson Starship member Pete Sears on piano and accordion, Danny Lewis of Gov’t Mule on Hammond organ and piano, David Castglione on sax, and Larry Packer on fiddle. They play these blues-influenced, roots-rocking tunes with style and energy. The songs hark back to the early influences of rock that have always kept the music alive. There’s a bit of rockabilly, some Cajun spice and plenty of honest rock’n’roll. Falzarano’s songs are memorable and infectious. It’s easy to find yourself humming these tunes for days after just one listen. The long history of the band ensures that they are able to play together in ways that constantly demonstrate a top-notch musical chemistry and the ability to listen and interact spontaneously. As with any band of this kind the songs seem like teasers for extended jams. Everything about Mecca screams that Michael Falzarano & the Memphis Pilgrims are a band that need to catch live and get your ya-yas out. You can’t go wrong with this band, anyone who appreciates tightly-played well-crafted, authentic rock’n’roll well enjoy this album. ♦♦♦♦½ (out of 5)

Jambanbs.com

By Suzie Cream Cheeze

Michael Falzarano with One-Eyed Jack
Tobacco Rd, Hell s Kitchen NYC

...........The second set opened with Michael Falzarano (Hot Tuna) on acoustic and One-Eyed Jack behind him doing Big Railroad Blues.  Falzarano’s vocals were great and O-E J complemented his style. He sat in on 2 O-E J songs Brother Tom & Move On.   Excellent versions and the acoustic was definitely a treat to hear in these songs. It added a whole new dynamic.  Falzarano then went into Going down the Road.   Once again his vocals were great and extra harmonies by Joe & Jeff added to the mix.  Katie stepped up for the new Draw the Line.   Friend of the Devil with Falzarano on vocals followed. Then Deep Elm Blues a great shuffled out version, the bass was a whailin! Luved it.  Then a real  surprise, Joe pulled out Kevin Kinney 's Straight to Hell.   This was the first time the band did this one and since Falzarano was at the Allen Woody benefit I guess the band took advantage of his presence.  It was a great ending song with Mike and Joe on vocals for the chorus........ 

 Selected Press Reviews For Michael Flazarano with Hot Tuna / Jorma Kaukonen Trio

Gibson Guitar Centennial Celebration

By J.C. Juanis

....... Greg Allman also joined the concert's headliners, Hot Tuna, sitting in on his Hammond B-3 organ for "Hesitation Blues" and "99 Year Blues". Jorma Kaukonen and Jack Cassidy were scorching during a long stellar rendition of "Ice Age". Pete Sears was also right on the money, adding some rollicking piano throughout the set. Michael Falzarano rocked the house with an incendiary version of his song "My AK-47". The Grateful Dead's Bob Weir and Quicksilver Messenger Service drummer Greg Elmore then joined Hot Tuna for a jam that will certainly go down as one of the Bay Area's best. Weir led the group with a spirited reading of "Walkin' Blues".

The Music Box

By John Metzger

Hot Tuna at The House Of Blues / Chicago

Hot Tuna has been recording and touring for more than 25 years. Though I've seen several different incarnations of the band in abbreviated sets over the past decade, their December 5 performance at House of Blues in Chicago made me a huge fan.

Hot Tuna grew as an off-shoot of Jefferson Airplane, and at its core is guitarist/vocalist Jorma Kaukonen and bassist Jack Casady. Augmented by keyboardist Pete Sears, guitarist Michael Falzarano, and drummer/percussionist Harvey Sorgen, the group performed two sets, totaling two hours and forty minutes, of scorching blues-based songs. This was the first real blues band I've seen at the House of Blues.

Kaukonen handled a majority of the vocals with ease and grace, delivering each line with a Dylan-esque sneer. Falzarano handled the balance of the vocals, most notably on Gypsy Fire -- perhaps the best song that the group performed this evening. He delivered the song with a guttural drawl, as Kaukonen took the opportunity to step back from the microphone and deliver a pair of bluesy solos that were truly masterpieces. On this song, his guitar playing mutated from his own unique style to that of Eric Clapton and even Duane Allman.

Throughout the evening, each solo that soared from Kaukonen's guitar fit the song and the mood perfectly. On songs like Walkin' Blues, How Long Blues, and Hesitation Blues, Kaukonen picked his way through a solid blues groove. Songs like Come Back Baby provided quite a contrast as Kaukonen unleashed a furious onslaught of electrified notes guaranteed to melt your brain. Of course, there were also the more folk-based arrangements like Good Shepherd on which his guitar sang beautifully, dodging in and out of Casady's glistening bass patterns.

The group even pulled out a mini-set of stripped-down songs, featuring Sears on accordion and Sorgen on a washboard. The band tore through Let Us Get Together Right Down Here and Candyman as Sorgen danced around the stage, tapping out a series of rhythmic patterns to punctuate the songs.

The most amazing aspect of the evening was the way that the band performed as a cohesive unit. It never felt as if it was time for one person to take a solo. Instead, the band jammed -- each person playing what they wanted to play while remaining in the context created by the other musicians. The interplay was not limited to Kaukonen and Casady. Each member of the band took part in the dense, musical mural that became each song. Whether it was Falzarano adding some extra punch to the rhythmic chords of Embryonic Journey, Sears subtle keyboard accompaniments and swirling solos, or Casady's vigorous lead bass lines, the group moved as one in their kaleidoscopic endeavor.

The group capped off the evening with a solid run-through of the Grateful Dead's Friend of the Devil. Sung by Falzarano, the band put their own blues-based stamp on the song, making it their own. It was a fine way to end an outstanding evening of music. I'll certainly be watching for their return to Chicago!

Jambanbs.com

"Too Many Years" - Jorma Kaukonen Trio
American Heritage RRCD2094
By Rob S. Turner

Jorma Kaukonen has been recording and performing for over forty years now. These days his work at the Fur Peace Ranch is taking up quite a bit of his time. Jorma still has some time to tour and record, and his most recent release "Too Many Years", is definitely a "must have" for even his most casual fans. I hesitate to call this the best of his career, because who knows what the hell is out there?! However, I've kept up with him for over twenty years, and this is clearly his best output that I am aware of, outside of his work with Hot Tuna.

From the bluesy realism of the opening Fools Blues to the spirited cover of Friend Of The Devil which closes the CD there is a consistent soulfulness underlying the music on here. The players on the CD make up the members of the Jorma Kaukonen Trio.  Pete Sears' understated work on piano and organ is vital to the music. Michael Falzarano is in his best voice to date, and his rhythm guitar supports Jorma without getting in his way.

While the title track has less sting than the biting darkness of Jorma's solo version on his "Too Hot To Handle" CD, it still succeeds in delivering the pain associated with fading love. Jorma's vocal approach combines with Sears' elegant organ to create a mournful tone. Johnny Cash's Home Of The Blues is a perfect follow-up, as it tells the story of one who is content to be immersed in music. Sears lends a smart accordion solo to the mix, and Jorma offers an expressive lead vocal without sacrificing clarity.

Jorma rearranges the bluegrass standard Nine Pound Hammer and turns it into a jaunty blues. His phrasing is Dylan-esque, as he twists some words, and like Bob, uses the "rush to catch up" style beautifully. His judicious approach to his guitarwork fits in perfectly with his arrangement. There is even a quick change in chord progression in the instrumental break that I've not heard in other versions of the song, giving the ear a mid-song tickle. He also injects his own inimitable style into Ronnie Self's Big Town. Jorma sandwiches two killer acoustic solos around a nice Sears lead. At one point, Jorma repeats a series of notes in his own familiar style, injecting extra soul into the rendition.

I still remember the first time I heard the Falzarano penned tune Gypsy Fire at the '98 Charlotte Furthur show. Hot Tuna was opening for The Other Ones. Even though I was deep in anticipation of my first Other Ones show, I was blind-sided by the elegance of the song. Plus, Jorma took a breathtaking solo in a style that we don't get to see him play every day. While this version is not as crushing as that one (check out the "And Furthurmore" release for a more strident version) it is still a sparkling track. Jorma lends some dizzying guitarwork during and after the final refrain. Jorma is refreshingly willing to share the spotlight as he includes Michael Falzarano compositions on his own CD. Falzarano is well represented as a songwriter by Gypsy Fire, and his 50s flavored blues romp, Larue Larue. Jorma scorches his lead on this one, exhibiting his ability to liberally fire notes out without muddying the feel. You Got To Move also hearkens back to days of yore.

When I first saw Hot Tuna at the Boston Orpheum back in November of 1983, they played a song called Junkies On Angel Dust late in their set. It was an explosive version of which I still have vivid memories. Unfortunately, I didn't pick up the lyrics at the time, nor have I understood many of them in any of the versions I've seen since. Well, it appears on this album, and now it's called, Man For All Seasons. Jorma's extra effort on vocals really pays off on this one. Instrumentally, this is a more controlled version than the mind-bender's Hot Tuna used to toss out. There is some sweet Sears/Kaukonen conversation at one point, and Falzarano's prudent rhythm guitar quietly bolsters the performance.

Fans of Arlo Guthrie may hear strains of Gabriel's Mother's Highway Ballad #16 Blues, in Heaven On Earth. This pleasant Kaukonen/Falzarano instrumental may not be the strongest track on the CD, but it does showcase Falzarano's mandolin ability. Speaking of Falzarano, I believe this represents the first release with him taking the lead vocal on a Rev. Gary Davis song. With him singing, Say No To The Devil, Jorma is freed up to add some extra baubels in the verse sections of a Davis song. Jorma's piercing steel guitar and the urgency of Falzarano's vocal delivery crackle out of the speaker. Sears' lead on the organ is one part church, another part honky-tonk. I love this number, and it's a fun song to put on just as your headin' out the door.

The pining Kaukonen/Falzarano Hypnotation Blues lets Jorma and Pete display their considerable acumen as soloists. The bed of simple lyrics and straight ahead blues progression becomes a launching pad for some stellar guitar work. Sears lays subtle organ behind Jorma, but it's his lead work on the piano that sticks in the mind. Jorma's unusual approach to builds, and his knack for blending subtlety and strength are on full display here. This is an eleven minute track that feels like half that.

The creative opening to Friend Of The Devil foreshadows that this will not be like any other FOTD ever heard. They lend a jovial feel to it, while still displaying compositional respect. Perhaps the experience of three Furthur Festivals has rubbed off on Falzarano, as he sounds more than comfortable delivering the lead vocal. Jorma's guitar solo finds him sneaking in subtle Garcia references without straying from his own style one bit. Sears piano tickling gives way to some aggressive pounding that powers the song into another Jorma lead, as he cooks up "ol Red" before concluding it with one last Garcia reference in his summation.

It is an appropriate closer for an album by a man who has never been shy about the "trickle down" benefit of being associated with The Grateful Dead. Many Deadheads are more than thankful for his meaningful contributions on the Furthur tours.

Relix Magazine

 "Too Many Years" - Jorma Kaukonen Trio
American Heritage RRCD2094

By Mick Skidmore

By Brian L. Knight

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