Jackie Greene February 2016 Tour Dates Announced



“...a man whose sound seems at once achingly intimate, surprisingly energetic and unburdened by adherence to genre.” –World Cafe

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Singer-songwriter/guitarist/multi-instrumentalist Jackie Greene has confirmed the first 2016 dates for his “Back To Birth” tour in support of his seventh studio album of the same name. The February run includes two shows at City Winery in New York City and dates throughout the Northeast. Full list of dates are below.

Back To Birth is available now and includes the singles “Trust Somebdy,” which has just reached 1 million plays on Spotify, and “Now I Can See For Miles.” Since its release on August 21, 2015, the album has been a staple at Americana radio leading to its inclusion in the Americana Music Association’s Top 100 most played albums of 2015.

Back To Birth was produced by Los Lobos member Steve Berlin, and was recorded at Portland’s Supernatural Sound. The 11-song set features Paul Rigby (guitar, mandolin, pedal steel guitar); Damian Erskine (bass); Reinhardt Melz (drums); Jason Crosby (violin, string arrangements) with Greene stretching out on a number of instruments including guitar, piano, organ and drums.

“A lot of these songs are looking at the notion of a cyclical existence, and the sense that life goes in a circle,” Greene observes. “I want the songs to come from a place that’s meaningful to me, but I also want to keep them as simple and direct as I can. I look at old blues songs, or Hank Williams songs, and they’re so simple and direct but they convey some pretty deep ideas.”

Greene has released six albums including Rusty Nails (2000), Gone Wanderin’ (2002), Sweet Somewhere Bound (2005), American Myth (2006), Giving Up The Ghost (2008) and Till the Light Comes (2010).


Feb 10 – New York City – City Winery

Feb 11 - Bay Shore, NY – Boulton Center for the Performing Arts

Feb 12 - Albany, NY – The Egg / Swyer Theatre

Feb 13 – Fairfield, CT – The Warehouse

Feb 14 – Ardmore, PA – Ardmore Music Hall

Feb 16 – Alexandria, VA – The Birchmere

Feb 17 - Teaneck, NJ - Mexicali Live

Feb 18 – Hudson, NY – Club Helsinki

Feb 20 – Jay, VT – Foeger Ballroom at Jay’s Peak

Feb 22 – New York City – City Winery

Feb 23 - Brooklyn - The Hall at MP

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Jackie Greene Band Live Downloads Available Now

We are happy to announce that live recordings of Jackie's shows are now available exclusively via Nugs.net. The initial launch includes 11 shows recorded in September 2015 and include live versions of many of the songs from Jackie's new album, Back To Birth, as well as all of the fan favorites, and covers of classic Grateful Dead, Dylan, Tom Waits, and more! Visit Nugs.net to see what's available now!

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Rolling Stone: Jackie Greene talks to Dave Rawlings in Episode #2 of Guitar Power


D'Addario's latest installment of its Guitar Power series focuses on the singer-songwriter's 1935 Epiphone

[embedyt] http://www.youtube.com/watch?v=PyWTzAoZhzE[/embedyt]

You might credit Dave Rawlings' signature fast-and-flat picking style to an encyclopedic knowledge of the guitar greats, or to a natural affinity for the instrument. Perhaps even to his Berklee degree. They're all safe bets, but, as he jokes to Jackie Greene in the second installment of D'Addario's Guitar Power acoustic series, he might actually owe his chops to something a little less intellectual.

"My hand-eye coordination was pretty good, I am pretty sure, because of video games," Rawlings tells Greene about his early days at the guitar, which he only picked up after a friend demanded the two play Neil Young's "Heart of Gold" for the school talent show. They were 16: Rawlings had his parents buy him a "little tiny Harmony" from the local Save Right, and started teaching himself through a set of Mel Bay instructional books. Still, he couldn't quite hone in on that iconic "Heart of Gold" riff.

"There's so much noise! How do you make all that noise?" the creative partner to Gillian Welch recalls to Greene, seated at an East Nashville studio in head-to-toe denim and a white cowboy hat. He took to the instrument pretty quickly, but had only yet mastered "single note stuff." "No one had ever showed me a chord," he says. "In some ways, that shaped my guitar playing."

Wielding his unmistakable 1935 Epiphone archtop, Rawlings showcases a little of that improvisational, single-note-driven playing, riffing off his recent sophomore release as Dave Rawlings Machine, Nashville Obsolete. The songwriter is almost never seen with any other instrument, and, as it turns out, it wasn't a purchase from some luxury vintage guitar shop — it was scavenged from the dirt of a friend's attic.

"I just picked it up. It was filthy, and it didn't have strings," he says. "You could just see the shape of it under the sawdust." Rawlings took it home, tuned it up and brought it to the recording session for the first Gillian Welch record, Revival. It was the last instrument he tried in the studio, but he's barely put it down since.

"As soon as I heard it through the microphone and through the speakers I was like, 'I love this guitar.'"

Future installments of the D'Addario Guitar Power series include guests Chance McCoy from Old Crow Medicine Show and Sean Watkins of Nickel Creek.


Read more: http://www.rollingstone.com/music/news/see-dave-rawlings-show-off-his-scavenged-vintage-guitar-in-new-series-20151014#ixzz3oZ0SWyBS Follow us: @rollingstone on Twitter | RollingStone on Facebook

Rolling Stone: See Luther Dickinson and Jackie Greene Jam in New Guitar Series


See Luther Dickinson and Jackie Greene Jam in New Guitar Series

D'Addario's Guitar Power collection features host Greene trading stories and licks with a range of guitar heros


The secret to Luther Dickinson's signature wailing slide-guitar groove? Start with the basics.


"In my community, everybody played with their fingers and everybody played slide guitar and open tuning," the North Mississippi Allstars frontman tells Jackie Greene, who sat down together during Nashville's Americana Fest to discuss Dickinson's approach to his instrument. And, of course, do a little noodling. (The two did time in the Black Crowes at different points in the band's career.) When Dickinson plays, his fingers do the walking — something host Greene points out in the video, the first of D'Addario's Guitar Power acoustic series.

"I don't think I've ever seen you use a pick," says Greene.

"I do, and I love them," insists Dickinson — though you're much more likely to see him capturing a "loose and light" style where he climbs freely along the entire neck of the guitar. He credits this approach to some early coaching from his father, Jim, a musician who played with Ry Cooder and pushed his son to study the rock & roll greats.

"He showed me Bo Diddley, and that's a great place to learn," Dickinson says, passing on this bit of advice to any aspiring axe-people: "I think the key to learning guitar with slide or your fingers is one string at a time."

As much as Dickinson is known for his guitar chops (he even has his own signature Gibson ES-335), he actually doesn't rely on the instrument as a songwriting tool.

"I like piano and drums. That's really my favorite way, to get a beat," he says, before dissolving into a "slow and bluesy" jam with Greene. "Get your song written, and then take it apart as if it wasn't even yours."

Future installments of the D'Addario Guitar Power series include guests David Rawlings, Chance McCoy from Old Crow Medicine Show and Sean Watkins of Nickel Creek.

Read more: http://www.rollingstone.com/music/news/see-luther-dickinson-and-jackie-greene-jam-in-new-guitar-series-20151007#ixzz3o62Ar9PS

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No Depression: The Naked Truth from Jackie Greene - Back To Birth



He's played with Phil Lesh & Friends, the Dead, Warren Haynes and Government Mule, the Black Crowes, and, when the intensely busy schedule he's kept for most of the past ten years permits, on his own.  These days, Jackie Greene is out and about, in a town near you, with a lovely, lyrical new record of songs from the heart.


Since 2010, Greene has been "edging toward" making this record.  He began writing songs that fit together, and he wanted a sound that was something more -- or rather less -- than clean and spare. Stripped down, I suggest in a recent interview. Even less than that. "These are songs that wanna be naked," he says, chuckling. "Songs for nudists."

Greene started working on Back to Birth (YepRoc 2015) in 2012. "The idea was to do it at my home studio," he explains. "[But] for one reason or other I wasn't stoked, so I set it aside."  Then Greene ended up on tour with the Black Crowes for a year.  "I went back to it in 2014. By that time, the versions I'd recorded at home became the demos."

The years cycled by, and the songs were, appropriately, written that way too. "[Back to Birth] has got a cyclical existence," he says. "There's a subtext to the whole record, a connecting tissue holding these songs together."

One of those vital connections is the death of Greene's father, who passed away in 2011 and to whom the record is dedicated.  "I always wanted it to have an organic feeling," Greene says. "We'd figured out which songs went together already, and recorded it in about eight or nine days. The whole idea was because the batch of songs were, to me, a more honest approach of songwriting. It's a record without a lot of trickery."

The honesty, and simplicity -- though the record is nowise simple, in its lyrics and musical style -- is reflected in the song titles: "Hallelujah" and "Light Up Your Window" and "Trust Somebody," and even in the look of Back to Birth. It's packaged without fanfare or even color, in black and white, riveting visually in its modesty and reminiscent of JT, The Times They Are a-Changin', and other stark but spectacular solo albums.

Greene describes Back to Birth repeatedly in physical terms, once calling it "an itch I needed to scratch. It feels right, at this time in my life." He's 34 now, 35 on November 27.

Did he write the songs at the piano, on his guitar? "When I sit down to write a song," he explains, "I don't really prefer one or the other. I don't view instruments as more than a means to an end, then. [I use] them for getting down what's in my head, in my heart."

Nonetheless, he continues, "it just felt right to stay on the piano. The songs dictated that to me."

A guitar, after all, is an instrument for traveling. And a piano, unless you can afford to hit the road with your baby grand, is an instrument for staying at home.  These songs feel homegrown -- perhaps the piano played into this. "When we went to record," he says, "we kinda just needed a good grand piano and a tape machine."

What was he listening to while he was writing these songs? Greene's answer is immediate: "the same music as Jerry Garcia, though without so much acid involved," he jokes. "Not contradictory at all."

There was a lot of old gospel on Greene's playlist too, particularly Mahalia Jackson. "I mean, I wrote a song called 'Hallelujah,' for God's sake," he quips.

You can hear the influences. Many of the tracks on Back to Birthwould sound good in a church, as is true of many Grateful Dead songs, which ring like a mash-up of the bluest Delta blues and a backwoods camp meeting. Greene listened to other Americana, too -- old blues, work songs. So, I had to ask: would he call Back to Birth an Americana record? Yes, as long as that word, to quote Walt Whitman, contains multitudes.

"Americana," muses Greene.  "It's just like anything that feels roots-based: blues, folk, gospel. We need a word to classify things. Real art to me is when people make something out of nothing. Like slaves, working in the field, living in the worst human condition imaginable, yet they created beauty with spirituals and the blues. That's the real deal."

Indeed, Back to Birth is no typical contemporary release, no set of slick songs co-written by many and co-produced by more. "No gimmicks," says Greene, "not shiny.  It doesn't buy you a latte."  He wants his music to be "more mesmerizing, that's the word, than anything else."

California Boy

A California boy, born and raised in Salinas, Greene now also has a place in Brooklyn. "Bicoastal, that's what I am now," he says, with a smiling hint of healthy self-deprecation. He loves the San Francisco Giants, but also delights in New York's vast music scene, frequently heading over and up to Carnegie Hall for concerts. "The first time I went [to Carnegie Hall]," he remembers, "was with Phil [Lesh]. We got all dressed up, black tie, and heard the Vienna Philharmonic do Mahler's 9th."

Greene is on both his home coasts, but not neglecting the rest of the country either, through the end of the year.

We spoke just before his current tour began, and Greene was, he said, "looking forward to playing with two guitars, bass, and drums, a down and dirty rock band." That down and dirty band is constituted of Greene on guitars and keyboards, Nathan Dale on guitar, Brian Filosa on bass, and Fitz Harris on drums. The tour isn's a necessary chore, but to hear Greene talk about it and about his record, more of a holiday for him. "This is a way to kinda let it breathe," he says of his airing the songs live.

By Labor Day, the band had half the songs in touring shape, with the rest well on the way. "We're going to see how the songs evolve. Someone said to me once, you better like the songs you write, because you're gonna get sick of playing them. That's bullshit." Greene doesn't get sick of his songs -- but he is always sensitive to an audience's reception of them.

"'Honey I Been Thinkin' About You' -- I rarely sing [that song] all the way, the last verse. I have to feel like I've got everybody's attention to do that." The songs of Back to Birth ask you to pay attention. The lyrics matter -- that's why they're printed out for you to read, the old-fashioned way.

Greene is pleased with how it all turned out. "[I made] a record I want make. And you have to really listen to the songs," he says. Indeed, Back to Birth is not a record for digital listening. As he says, it's for "anybody who cares about the album as an art form. It demands that you listen to it as an album, front to back. It demands physical attention." It demands some ceremony, and some time -- and be glad that it does, because those things are both sadly lacking in our world today. Go on, buy a turntable if you're unfortunate enough not to have one.

Anne Margaret Daniel  2015  Lead photo by Greg Vorobiov. Other photographs via @thejackiegreene and @realvenetianblonde on Instagram

Acoustic Guitar Sessions Presents Jackie Greene


https://youtu.be/WNM2DYyUjc0 Impossible to pigeonhole, Northern California singer-songwriter Jackie Greene is all over the map stylistically, drawing from folk, blues, R&B, gospel, and pop/rock influences—sometimes in the same song—and blending them into a unique amalgam. He’s equally comfortable playing solo acoustic or screaming electric with a full band, and he brings an unmistakable authority and authenticity to everything he touches. It’s no wonder he has been tapped to collaborate with everyone from former Grateful Dead members Phil Lesh and Bob Weir to the Black Crowes, Levon Helm, Govt. Mule, and so many others. His latest album is called Back to Birth, produced by Los Lobos’ Steve Berlin, who also worked on two of Greene’s best discs, American Myth and Giving Up the Ghost. When Jackie bopped by for this AG Session, he elected to play a couple of songs from the new album, “Light Up Your Window” and “A Face Among the Crowd,” plus his soulful cover of the Dead’s “Sugaree.” You can see more Jackie Greene in our earlier Session with Trigger Hippy, featuring Jackie and singer Joan Osborne. - See more at: http://www.acousticguitar.com/Sessions/Acoustic-Guitar-Sessions-Presents-Jackie-Greene#sthash.rRxvoyXZ.dpuf

No Depression: Like Old Times - Jackie Greene at Levon Helm's Woodstock, NY


For more than a decade -- not long after he put together the money to make his first record, Rusty Nails (2003), at 23 -- I've been listening to Jackie Greene.   We met in the summer of 2008, when he was traveling with Phil Lesh and Friends, and they did a show together with the Levon Helm Band at Jones Beach.  At the break after Phil and Friends' first set, I saw Jackie relaxing with a friend backstage, looking entirely unruffled by having just blazed his way through a superb "Sugar Magnolia."  I introduced myself, and we spoke for awhile, then I left him with a compliment:  "Jackie, you really played the hell out of 'Sugar Magnolia.'"  With an angel face, looking like a kid, he beamed up at me, and said, very politely, "May I please have a fucking hell?"  Yes, you may, I corrected myself.


It's been a pleasure to see him, mostly on the road, in the years since -- and even more a pleasure when he comes to his second home, far from California but clearly close to his heart, Woodstock, NY.  Greene has played in town often, but the venue he loves best is where he chose to launch his new album, Back To Birth (YepRoc), last Friday night:  Levon Helm Studios, 160 Plochmann Lane.

Watch the trailer for "Back To Birth" here:


"The Barn" was full of old friends -- the Helmland staff of long time, with Barbara O'Brien welcoming guests, and birthday gal Geanine Kane manning the busy merchandise counter.  Greene's new record was available on cd and vinyl, and sales were beyond brisk.  The audience was a mix of diehard Greene fans who knew every word to the old songs, local Woodstockers who love good music, and Deadheads; most folks seemed to fall into all three categories, I was happy to see.  It had been billed as a solo acoustic evening, but, delightfully, Jabe Beyer joined Greene for an evening of old and new.

Affably, Greene invited us to call out requests, and was instantly beseiged.  Amid an initial guitar set featuring songs from Back To Birth, he complied early on with people who wanted "Georgia," his early hit ballad of a bad, bad girl who'll rock your world.  His "New Speedway Boogie," sweet and simple and strummed, was joyful, with every soul under Levon's roof joining in right in time, and in fine tune, on every "mountain" and "one way or another."  Tagged at the start of his career with the praising and damning title of "The New Dylan," Greene has a sense of humor about it.  He hasn't given up his harp rack and acoustic guitar, and, from the tracks he played at the launch, his new album sounds to have some kinship with Bob of Woodstock days.  Laughing that now, yes, he'd do "a little Dylan," Greene and Beyer performed a sexy cover of "Tonight I'll Be Staying Here With You."  "Someday, I want to live here," Greene announced, to applause.  "No," he insisted, pointing down at the Barn floor and its battered Oriental carpet on the stage, now duct taped in places.  "I mean here.  RIGHT here.  One time I spent the night up there," he waved at the loft above the area behind the stage.  "It's very cozy."

"Silver Lining," from Back To Birth:


When Greene shifted over to the piano, he shone even brighter.  His fame has come from his guitar playing, with the likes of Phil and Friends, Larry Campbell, the Black Crowes, and Warren Haynes and Government Mule, but Greene is a jazz pianist at heart, with a little boogie-woogie stirred in.  He riffed happily as Beyer kept up gracefully, teasing Dead fans who kept asking for "Brokedown Palace."  Instead, he launched into Tom Petty's "Breakdown."  General laughter and a sing-along ensued.  After the first verse, he stopped, and said, "That's all I know."  Greene then played "Shaken," from his 2009 Giving Up The Ghost; and his new song "Hallelujah."  It takes guts to write a song of your own and dub it "Hallelujah" today, and Greene's song is lovely.  He ended the night with the title track from Back To Birth. 

It was just after 10pm, and no one left.  Downstairs, the line to buy Greene's record was out the side door and into the mosquito-filled, cool night.  Bowls and platters on the potluck food table were empty.  People chatted, greeted friends from Rambles past, and waited for Greene to come out and sign -- which, almost instantly, he did.  He will be back at The Barn at the end of September, but I'm sorry to tell you the gig is already sold out.  Better luck next time, for there will be a next time.

Hear more of "Back To Birth" here, via JackieGreene.com

photographs via @thejackiegreene on Instagram

Billboard: Exclusive Song Premiere "The King Is Dead"


Singer-songwriter Jackie Greene's new album Back To Birth has been a work in progress for three years. And you can blame a couple of bands for the delay.

Greene tells Billboard he started Back To Birth -- which includes the track "The King is Dead," "a bit of a socio-political statement, masquerading as a rock song" -- during 2012 in his home studio in California. "I thought I wanted a very sort of home studio vibe on it," Green explains. "Then I started back and it wasn't really going where I wanted it to go, so I put it on hold." He intended to get back to it sooner, but in 2013 Greene joined the The Black Crowes, and then subsequently was part of Trigger Hippy, a group formed by Crowes drummer Steve Gorman that also included Joan Osborne.

Listen to "The King Is Dead," which Billboard is premiering exclusively below.


Fast-forward to 2014, when the Crowes came off the road, and Greene was ready to return to his project -- and had motivation in the form of Los Lobos' Steve Berlin, who agreed to produce the album and record it in Portland, where he resides. "It sounds more like a band record because it is a band playing it," Greene notes. "The problem I ran into with doing it all myself is that I sort of get stuck in the way I play the drums and the way I play bass and stuff like that. It was a little too boring for me. It didn't sound the way I wanted it to sound. The vibe wasn't happening. For a lot of these songs I felt like I just needed to have other people in the room, and it worked out great. Like at the end of 'Hallelujah,' the sort of rave-up gospel bit, that was live in the room, very authentic. You can't do that by yourself. You have to have other people."

After his outside band experiences, Greene -- who's also worked with Phil Lesh & Friends -- considers Back To Birth "a return to my musical roots. It's an album that fully embraces folk, blues, gospel and rock'n'roll -- all the critical elements of my musical upbringing." There's a thematic subtext to the album, too, which Green describes as "the idea of circular existence; things have happened before and they'll happen again. "The King is Dead" is a case in point: "I wrote the song after reading some old folktales about a city whose totalitarian leader passes away but the public has been so brainwashed into thinking they need a leader that instead of rejoicing and rebuilding, they go right on with the program until the next dictator takes his place. To me, the juxtaposition of the two phrases, 'The king is dead' and 'Long live the king,' help illustrate the irony of it all."

With the Black Crowes nested, Greene has also left Trigger Hippy and plans to put his efforts into his own music again -- including shows starting with an acoustic date Aug. 21 at the late Levon Helm's The Barn in Woodstock, N.Y., and band performances beginning Sept. 5 in Livemore, Calif. "I really want to focus on this record right now," Greene says. "I've been in a lot of different bands the last couple of years and put my stuff on the back burner. At this point in my life I don't feel like I want to do that anymore. I want to go for it and reserve some energy and be a little more selective about where I put it, I suppose."



Make no mistake. Jackie Greene’s been very busy of late. Never mind the fact that the auspiciously named Back to Birth is his solo first album in five years. That’s hardly surprising considering the extracurricular activities that have occupied him in recent times. For starters, there’s his participation in Trigger Hipper, that super group of sorts that he co-fronts with Joan Osborne. Then there’s the other company he keeps, as hired hand for the Black Crowes and a notable pair of Grateful Dead offshoots, Phil Lesh and Friends and SRW, an acoustic trio that finds him co-billed with Bob Weir and the Crowes’ Chris Robinson. CLICK HERE TO READ ARTICLE ON GLIDE.COM

It’s not a bad resume for a musician whose string of seven albums dates back only fifteen years, to the year 2000, when he self-produced and self-released his limited edition debut, the ironically titled Rusty Nails. In the interim, he’s managed to garner a formidable reputation from critics, fans and contemporaries, even while retaining purity in his purpose. It stems from that fascination he felt when he first discovered his parents’ cache of vintage LPs, igniting a passion for making music that persists to this day.

Not surprisingly then, Back to Birth finds Greene eschewing the artifice that’s so prevalent in much of the music heard these days. Produced by long-time collaborator and Los Lobos mainstay Steve Berlin, it places its emphasis on lean and taut arrangements that underscore the essence of the music itself. The performances are rock solid, direct and straight to the point, allowing the musicians to stretch out while still remaining in service to the songs.

Glide recently caught up with Greene at home in San Francisco just prior to the album’s release. He was thoughtful, open and more than willing to express his thoughts about his music, his muse, and his incredibly impressive high profile connections.


 From what we’ve read, it seems that this album was a significant step in your trajectory.

Actually, I started recorded it in my home studio as far back as 2012. My idea was that I was going to do it all myself, play everything entirely and do it at home…make it a sort of homespun record. But I quickly became disenchanted with that idea because it wasn’t really coming together the way I had pictured it in my head. So fast forward to 2013. I joined the Black Crowes for that entire year, and then I revisited it in 2014. And that’s the record we have now. I got my friend Steve Berlin to produce it and he helped take me out of my regular comfort zone. I ended up having a couple of other songs that I added to the record as well. It was interesting because normally when we make a record, we have 15 songs or whatever, I end up picking the best ten or twelve. But on this record, I had demoed around 20 songs, so we emailed back and forth discussing which songs we were going to use, and it became pretty obvious that we agreed on the same songs all at once. So we went into the studio with the same ideas on what to record. We had a limited amount of time, so we ended up doing it similarly to the way we did the American Myth record which we made back in 2006. I like to call this a “non-fancy” record because there’s not a lot of tricks. Not a lot of production tricks anyway, and that was sort of what I was going for to begin with. So I’m pretty happy with it.

Still, it had been about five years since your last record. That’s a long time in this fickle world. Did that create any apprehension on your part?

Yeah, a bit. When I first did my demos, it was like, “I hate this.” But now I love it. I think it’s one of the best records I’ve ever done. It’s similar to the kind of rootsier music that I started with, but it’s much more mature at the same time. I guess I was nervous because it had been so long, but I have been busy for the last five years too. I wasn’t nervous that much, but initially it was like, “Gosh, I hate what I’ve done here.” 

You’re also starting out with a new record label, Yep Roc. How did that factor into the equation?

It didn’t really. I feel like I’m going to make records my way whether they come out on labels or not. I’m certainly grateful that there’s a label willing to put it out, but I’m going to put out records regardless. My job is to make the record I feel like I ought to be making at any given time. And I feel like I made that record. Like I said, when we first started making the record, I wasn’t sure. But for me, that’s sort of what I go through with every record always. I always have those moments of self doubt until I reach a moment of truth, and then I’m very proud of it. I ‘m sort of used to that.



Do you conceptualize your albums prior to recording? Do you have a sort of theme in mind that you write around, or do you have a set of songs and then decide that they might fit together well for an album?

In the past, it’s been more like I’d record 15 or 20 songs, and then see if they fit together well on an album. With this one, it’s a lot more specific. It became very, very clear with the songs we chose to record, there was a thread that ran through it, at least for me. The title is called Back to Birth and it sort of feels to me like there’s a thread of a cyclical nature, like a thread of life thing. There are a lot of lines that sort of point towards that.

 And that’s how you approached the arrangements?

Yes. It became clear to us as we started to record that there shouldn’t be a lot of trickery in the production. It’s like – this is the singer, these are the songs. That was the idea for the record. I was not really worried about whether this song was going to have this kind of orchestration, or whether that song would have a certain arrangement. We’re just going to record songs with a bass player, drummer and guitar player and in the most honest way possible, that is, to rehearse the song and listening to what the song’s about and then to play the fucking song in the studio and not worry about whether or not this guitar part is going to stick or not. Just worry about the song. Don’t over think it.

 So was Steve on board with this idea?

Oh yeah. Absolutely. It’s cool to work with Steve because when you have limited time in the studio, it’s nice to work with somebody you already know, so you don’t have to have what I call the “getting to know you” period. You can just dive in, and if there’s something you don’t agree with you can discuss it and it’s totally fine. Steve and I work well together that way. We might have those occasional moments, and if we happen to disagree we don’t have to worry if we’re going to offend each other. That’s very helpful.


 So when you demoed this, you played all the instruments?

Those first recordings were basically me demoing the record, so the arrangements were pretty much figured out. It gave the session guys something to work from. But I made it very clear that they didn’t have to copy my arrangements and it was more like the vibe that I had in mind.

So why didn’t you just do it all yourself?

Well, that was my idea at first. But when I heard my demos I didn’t like them. I felt that these songs warranted a band feel, even though a few of them are ballads. So we kept one of the demos where it was all me and that was about it. But I really wasn’t under any pressure to finish it so I put it aside for the winter and then along came the tour with the Black Crowes and that was that.

You were involved with the Black Crowes around the end of their run, no?

Yeah, at the very end. It was the 2013 tour.

Was there a strange vibe? Was there any indication that they were about to call it quits?

No, not really. I don’t think anyone really knew that this was it. That information came out later. At the time, I was just hired to play guitar, which was really a lot of fun for me. As a kid, I always wanted to play guitar in a big, loud rock ‘n’ roll band. So I got to do that, and playing with a guitarist like Rich Robinson was really cool and interesting anyway. But in terms of the Black Crowes closing up shop, nobody was really thinking about that. We were just out playing shows. It was a great tour and everybody had a lot of fun. So if it turns out that was the last tour for the Black Crowes, it was quite a good way to go out.

 So when you demoed this, you played all the instruments?

Those first recordings were basically me demoing the record, so the arrangements were pretty much figured out. It gave the session guys something to work from. But I made it very clear that they didn’t have to copy my arrangements and it was more like the vibe that I had in mind.

So why didn’t you just do it all yourself?

Well, that was my idea at first. But when I heard my demos I didn’t like them. I felt that these songs warranted a band feel, even though a few of them are ballads. So we kept one of the demos where it was all me and that was about it. But I really wasn’t under any pressure to finish it so I put it aside for the winter and then along came the tour with the Black Crowes and that was that.

You were involved with the Black Crowes around the end of their run, no?

Yeah, at the very end. It was the 2013 tour.

Was there a strange vibe? Was there any indication that they were about to call it quits?

No, not really. I don’t think anyone really knew that this was it. That information came out later. At the time, I was just hired to play guitar, which was really a lot of fun for me. As a kid, I always wanted to play guitar in a big, loud rock ‘n’ roll band. So I got to do that, and playing with a guitarist like Rich Robinson was really cool and interesting anyway. But in terms of the Black Crowes closing up shop, nobody was really thinking about that. We were just out playing shows. It was a great tour and everybody had a lot of fun. So if it turns out that was the last tour for the Black Crowes, it was quite a good way to go out.


 So nobody said anything to indicate it would be the last hurrah?

No, not at all. And it really wasn’t any of my business anyway so I doubt anyone would have said anything to me anyway. I’m not an original member after all. And like I said, all we were focused on was the matter at hand, which was the tour.

You’ve found yourself in some impressive company in your career. Aside from your association with the Black Crowes, you’ve also been involved with members of the Grateful Dead. That’s not a bad credit to have on your resume. How do these associations come about?

I guess I’m a fast learner.

Indeed, both of those aforementioned bands have such extensive catalogs. How do you manage to learn all the material? Do you go home at night and listen to the songs over and over until you think you’ve got them down?

Pretty much. With the Crowes I got a list of the songs a few months before the tour, and then we had a rehearsal and I had to learn them in one day. So that was kind of stressful. Of course, we did play them at sound check.

 How did you connect with the guys from the Dead?

It was a little more round about. Phil (Lesh) had heard one of my songs and he saw us at Bonnaroo. Phil is the type to go around and check out bands.At the time, he was working on some music for a television show that later never got off the ground. So he asked me to come in and help him write some songs. So I went into the studio, and some of the other musicians showed up and next thing I know, we’re jamming on some Grateful Dead song I’ve never heard before. (laughs) It wasn’t long after that that he asked me to join Phil and Friends for some of those tours. I thought it was awesome, not even knowing the depth of that catalog. So I dove in head first into that world. I knew a few songs like “Sugar Magnolia” and “Truckin’,” but I didn’t know the deeper cuts. But the next thing I know, I’m learning 50 deep Grateful Dead tracks and playing in front of 2,000 people. I was kind of worried about it, because I didn’t know the songs that well, but Phil really wants everyone to take a chance. He’s fearless. He tells people, “Do it your way. Do it the way you would do it. Not how Jerry would sing it. Don’t worry about it.” And if you really think about it, I didn’t really have that 50 years of history with it. So I did do it my way, because I really didn’t know any other way to do it. It kind of worked out well. However nerve-wracking it was, I still learned so much from it.

How did the Deadheads react? When you’re the new guy, they can be pretty critical. Did you feel that pressure?

Oh yeah. Certainly. I heard all these war stories about the fans not accepting certain new people in the group and just tearing them apart on the internet. I was warned not to read the message boards. It’s very true. You don’t want to do that anyway. (laughs) But I came at it from a place of genuinely wanting to do the best that I could, rather than trying to be egotistical. I genuinely love those songs. I was in the position of discovering my new favorite band in front of thousands of people. The Grateful Dead community witnessed me turning into a Dead Head while playing with Phil. So I think they really embraced that. I was like 25 or 26 years old at the time, so it was like I was part of a new Dead generation. Now I have all that music in me and I can help carry it forward.

What’s the present status of Trigger Hippy?

We had a record come out last year so I guess that counts as far as my output is concerned. We toured occasionally on it. So now that my new record’s coming out, we’ll probably do a few dates around that and maybe think about recording another album for next year. Joan’s got a few new tunes, so it would kind of make sense. Whenever we get together, we think about doing some dates, but it does get complicated because everybody’s got their own projects going.

Are you writing songs now with the band in mind?

I have, but the others probably have also. I do have a bunch of extra songs. I have a folder full of them. There are five songs or so that I dropped from this album that we could possibly use. But we haven’t really had time to get together and share our songs with one another. I haven’t written any songs with Trigger Hippy in mind specifically, but there are some songs that could be used for that purpose. It’s a very democratic band.


How much of a focus will Trigger Hippy remain as far as you’re concerned? Is it something you would like to see continue?

It’s alive and well, but with my new record coming out, it’s not my central focus at the moment. I only have so much energy. It’s going to be put on the back burner for awhile but it’s definitely still there. Joan loves it and she has a great time. We all have a great time playing together. It’s definitely not going away.

Was there a point early on when you knew that you could support yourself making music, when you knew you wouldn’t have to take a day job and wouldn’t have to look back?

Honestly, I still wonder if that’s the case. It’s definitely not what you think it is when you’re a kid. I always wanted to be a musician; ever since I was a junior in high school, I knew it was what I wanted to do. I’ve been very lucky. I had a lot of friends I went to high school with who had big dreams that never quite panned out and are now going through some sort of midlife crisis. I’ve never had that, so I’ve been lucky I guess. I decided that this is what I wanted to do. I can tell you that when I was 20 years old and we sold out our first club show, that was kind of a big moment for me. There were maybe 150 people there. That was about the time I gave up my day job. I was struggling, but I had made the determination that this was what I wanted to do. From that point on, I never looked back. And then the first time I played the Fillmore, it was like, “Oh my God.” I was still struggling financially, but it seemed like I had turned the corner.

Live photo by John Zara

Concert Television Special: Jackie Greene Band on Infinity Hall Live!



After seven albums, two EP’s, contributing to the Oscar-winning Brokeback Mountain soundtrack, multiple tours alongside Phil Lesh as part of the Phil Lesh & Friends collective, touring as part of the Black Crowes band before the group disbanded this year, and working with side-project Trigger Hippy alongside Joan Osborne and Steve Gorman (Black Crowes) – it’s surprising that Jackie Greene can still be considered one of music’s best kept secrets.



This singer, songwriter, bandleader and multi-instrumentalist brings his band to Infinity Hall Live for a dynamic performance filled with blues, pop, folk, soul and good old rock and roll. Greene’s performance allows us a sneak peak at some of the songs from his first solo album since 2010, Back To Birth,  due out on August 21st on Yep Roc Records.  Audiences will delight in watching Jackie weave together influences from various musical spheres with great guitar playing and thought provoking lyrics. You’ll hear Jackie Green favorites like “Light Up Your Window” and “Gone Wanderin”. Music enthusiasts and deadheads alike will enjoy hearing Jackie share what it’s been like to work with Phil Lesh and Bob Weir or playing with the great Levon Helm at one of his infamous Rambles before he passed.

Song List:

  • “Gone Wanderin”
  • “Uphill Mountain”
  • “Light Up You Window”
  • “Shaken”
  • “So Hard to Find My Way”
  • “Trust Somebody”
  • “Till the Light Comes”
  • “I Don’t Live in a Dream”
  • “I’m so Gone”
  • “Scarlet Begonias”
  • “Like A Ball and Chain”

Jackie Greene to perform at AmericanaFest, Sept 15-20

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Jackie Greene, Ry Cooder, Ricky Skaggs, the Mavericks and More Added to AmericanaFest

Ry CooderRicky SkaggsBuddy Millerthe MavericksJD Souther, Jackie GreeneAmy Helm and Nathaniel Rateliff & the Nightsweats are among the latest artists added to this year’s AmericanaFest, which takes place Sept. 15-20 in Nashville. Cooder will perform as part of a trio with Skaggs and Sharon White.

They join more than 150 acts scheduled to perform as part of the Americana Music Association’s 16th-annual festival and conference. American AquariumAmy LavereDavid Wax MuseumDonnie Fritts & John Paul WhiteDoug SeegersEilen JewellJim Lauderdale, the Legendary Shack ShakersLindi OrtegaSam Outlaw and the Steep Canyon Rangers are also among the artists that have been added to the bill.

“This year’s showcase lineup blows me away,” said Jed Hilly, executive director of the Americana Music Association. “Discovery: that’s what is so special about music and I think we do that part well. You can walk into any of our venues—knowing who is playing doesn’t matter—and you will see something that will knock your socks off.”

Previously announced acts include Los LobosPatty GriffinLee Ann WomackBéla Fleck & Abigail WashburnDom FlemonsJames McMurtryLera LynnLydia LovelessMary Gauthier and Nikki Lane. See the complete list of performers here.

The festival also includes the Americana Honors & Awards on Sept. 16. Rhiannon GiddensJason IsbellSturgill SimpsonLucinda Williams and Lee Ann Womack are nominated for artist of the year, one of six categories, along with album of the year, duo/group of the year, emerging artists of the year, instrumentalist of the year and song of the year.

Go to: Wall Street Journal / Speakeasy

by Eric R. Danton, June 19, 2015

PopMatters - "A Face Among the Crowd" + Father's Day Playlist (audio) (Premiere)

Screen Shot 2015-06-17 at 6.57.28 AM With Father’s Day coming up this Sunday, there’s no better time than the present to debut the new tune by the singer-songwriter Jackie Greene, “A Face Among the Crowd”, which PopMatters is proud to premiere. The track features on his forthcoming record Back to Birth, his first studio outing in five years. The sentiment in the title Back to Birth is reflected by the music on the album, which Greene describes as “a return to the simplicity that I started with, although,” he adds, “I feel like I have a much better idea of what I’m doing now.” The reflective, inviting quality of “A Face Among the Crowd” is more than enough proof to affirm his estimation.

“This is a song I wrote for my dad as a Father’s Day gift some years back before he passed away,” says Greene to PopMatters. “It’s a pretty emotional song for me. I hope other fathers out there will enjoy it as much as my dad did.”



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Back to Birth is out on 21 August via Yep Roc.

In addition to his own tribute, Greene culled together a Father’s Day playlist on Spotify, available for your streaming pleasure below:


SXSW with Ryan Bingham and Luther Dickinson

Excited to announce that Jackie Greene will be joining Ryan Bingham and Luther Dickinson for a free show on SXSW's Outdoor Stage at Auditorium Shores on Friday, March 20th. Alt-country singer and Austin native Carson McHone will open the show at 5:00PM, followed by Jackie Greene at 6:00PM, and North Mississippi Allstars guitarist and vocalist Luther Dickinson at 7:00PM. Grammy and Academy Award winner Ryan Bingham will take the stage at 8:00P Screen Shot 2015-03-13 at 5.51.14 AM

Gates for this showcase will open at 3:00PM. The showcases at the SXSW Outdoor Stage atAuditorium Shores are open to the public with free Guest Pass wristbands, available in advance or onsite at the event. Visit guestpass.sxsw.com for more information.

SXSW Music and Platinum Badge holders and Music Wristband holders do not need a Guest Pass to attend. Visit the SXSW Outdoor Stage page for information on transportation, parking and more.


Forever I'm A Gonna Wander Tour







“Jackie Greene could be the prince of Americana.” – The New York Times


On March 6, roots rocker Jackie Greene kicks off the first leg of his “Forever, I’m A Gonna Wander” tour at the Center for the Arts in Grass Valley, CA. Performing select songs from his Yep Roc Records debut, Back To Birth, out August 25, the 12-city run culminates with two performances at SXSW in Austin, TX, and a six-night residency at Sweetwater Music Hall in Mill Valley, CA. Full list of dates attached. The tour will continue throughout 2015, with additional dates to be announced.


Featuring two songs from the forthcoming new album, an exclusive 7-inch, Light Up Your Window, will be available April 18 as a Record Store Day limited edition. A live performance of the track is the third installment of the year for Yep Roc Music Group’s Sawyer Sessions and premiered today. Check it out here.


“Light Up Your Window” was a song that I started writing on the road,” says Greene. “I was listening to old country stuff at the time and wrote it as a two-step country song, but it quickly morphed into the funky album version once we got in the studio.”


Of the new album he told Rolling Stone, “There are a lot of serious, emotionally-charged songs, and quite a few ballads,” Greene says. “So my goal is to keep the arrangements simple and present the songs in a very honest way. I want to avoid any trickery. That’s what I call it when a record sounds a little too fancy.”


Since beginning his career working the bar and open mic circuit in and around his hometown of Sacramento, Greene has recorded seven albums and two EPs, released a DVD, and published a book of lyrics.


In addition to his solo career, Greene is a member of Trigger Hippy, fronted by both he and Joan Osborne, and includes Black Crowes drummer Steve Gorman. Greene often sings and plays guitar in Phil Lesh & Friends, and in 2013 played lead guitar with the Black Crowes on their 2013 World Tour.




March 6 – The Center for the Arts – Grass Valley, CA

March 7 – The Center for the Arts – Grass Valley, CA

March 8 – Humboldt Brews – Arcata, CA

March 10 – The Catalyst – Santa Cruz, CA

March 11 – SLO Brewing Company – San Luis Obispo, CA

March 13 – Saint Rocke – Hermosa Beach, CA

March 14 – North Park Observatory – San Diego, CA

March 15 – Skylight – Santa Fe, NM

March 17 – Gas Monkey Bar n’ Grill – Dallas, TX

March 19 – Continental Club / Yep Roc SXSW Showcase – Austin, TX

March 20 – Lucy’s Fried Chicken / SXSW – Austin, TX

April 9, 10, 11 – Acoustic Duo / Sweetwater Music Hall – Mill Valley, CA

April 12 – Full Band Acoustic / Sweetwater Music Hall – Mill Valley, CA

April 14, 15 – Full Band Electric / Sweetwater Music Hall – Mill Valley, CA


# # #

Six Nights at the Sweetwater

Jackie Greene has announced that he'll be performing six nights at the Sweetwater in Mill Valley, CA, from April 9th through April 15th. Each night will be a little different configuration of acoustic duo, acoustic band and electric performances. April 9, 10, 11 - Acoustic Duo

April 12 - Unplugged (Full Band)

Apr 14, 15 - Plugged In and Turned Up! (Full Band)

Tickets are available via the Sweetwater Website: http://www.sweetwatermusichall.com

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