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      Lettuce in Asheville

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      September 12, 2019

      Thursday   9:00 PM

      468 Riverside Drive
      Asheville, North Carolina 28801

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      Lettuce Adam Deitch: drums, percussionAdam “Shmeeans” Smirnoff: guitarErick “Jesus” Coomes: bass Ryan Zoidis: alto, baritone and tenor sax, Korg X-911Eric “Benny” Bloom: trumpet, horns Nigel Hall: vocals, Hammond B-3, Rhodes, clavinet, keyboards LETTUCE is (a) the prime ingredient in a salad, (b) a slang for cash, (c) a green herb that can besmoked, (d) a genre-busting six-member funk/jazz/soul/jam/psychedelic/hip-hop/art-rock/ambient/ avant-garde/experimental collective formed in 1992 by four alumni of theprestigious Berklee College Of Music, or (e) all of the above.If you answered “e,” then you’re on to the ever-changing musical palette and all-inclusive goalsof LETTUCE’s sixth studio album, Elevate, and its ongoing re-interpretation of the band’s nameas “Let Us.” In their earliest days as students, they would roam the cities of the Northeast, andimplore others to “Let Us play.” Starting with their 2002 debut album, the phrase has beenaffixed to their first four albums, as in (Let Us) Outta Here (2002), (Let Us) Rage! (2008), (LetUs) Fly! (2012) and (Let Us) Crush (2015). Elevate (2019) is the band’s first studio album since2016’s Mt. Crushmore and the follow-up to its 2017 live effort, Witches Stew.Recorded at Colorado Sound outside of Denver, near the home of New York transplants andband co-founders, guitarist Adam “Shmeeans” Smirnoff and percussionist Adam Deitch, withlegendary engineer Russ Elevado (D’Angelo, The Roots, Erykah Badu), Elevate showsLETTUCE touching on its past while moving full force into the future. The band explores itsfunk roots in the Tower of Power like punch of “Ready to Live” (the cover of a song by ColdBlood’s Lydia Pense), the Prince-like swagger of “Royal Highness” and the OG blues-soul of“Love Is Too Strong,” while expanded trip-hop sounds of the space age audio-scapes like“Trapezoid,” “Gang 10” and “Purple Cabbage” show the influence of sax player Ryan Zoidis’Korg X-911 synths and Nigel Hall’s Rhodes keyboards.“This album definitely stretches the boundaries,” says chief composer/percussionist Deitch,whose chance meeting with co-founder “Shmeeans” while 16-year-olds at a summer campbefore their freshmen year of college proved momentous. “The idea was to keep exploring thedifferent areas of funk and hip-hop beats, then writing melodies to those songs that made sense.”The more progressive/spacey vibe, with elements of Pink Floyd, the Grateful Dead, Eno andMiles Davis, also comes naturally to the band, according to founding member and bassist Erick“Jesus” Coomes, an Orange County native whose father, Tommy Coomes, is a successfulmusician with a number of albums to his credit.“We’re big improvisational music and arts fans,” Erick says. “We consider them part of the sameworld. It’s like painting live with five other people, one arm and a single brush.” Guitarist Shmeeans compares the group’s eclectic, free-wheeling approach to “the modern NBAand its position-less basketball,” Nigel Hall, the band’s resident singer, also takes vocals on thealbum’s two covers, Tears for Fears’ “Everybody Wants to Rule the World” (one of the album’stwo focus tracks, along with “Krewe”) and Lydia Pense’s “Ready to Live.” “As long as youlisten, play your part and remember where the ‘one’ is, you can thrive in this band,” says Nigel.Trumpet and horn-player Eric “Benny” Bloom, a Rhode Island native who has been a full-timemember of LETTUCE since 2011, notes, “This isn’t just a funk band anymore. We’re playingevery style of music in every song. You can’t categorize it. We have the freedom to do whateverwe want that’s appropriate for the song.”Much of the futuristic, yet warm and analog feel, of Elevate can be attributed to sax player,Portland, ME native and co-founding member Ryan Zoidis, who continued to explore the limitsof his new toy, a vintage Korg X-911 synth.“I was still figuring it out on the last album, trouble-shooting how it would work,” says Ryan.“It’s responsible not just for the ways the band has changed musically, but it’s improved my lifein general. It’s great to have have a lot more options with my sound rather than just relying onthe one standard timbre of the dry saxophone. There are now a bunch of different voices I canpull up.” He points to “Trapezoid” as a piece for which he recorded himself playing the synthover a click track and then sent to Deitch, who turned it into the song on the album.Other album highlights include Smirnoff’s nod to Carlos Santana and Trey Anastasio on theLatin-flavored and playfully named “Shmink Dabby,” the spaghetti western meets ‘60s Ethiopianfunk by way of the French Ethiopiques compilation albums in the focus track, “Krewe” and theMarcus King cameo vocal on the B.B. King/Al Green gospel blues of “Love Is Too Strong.”The latter is reminiscent of other guest appearances in the past by the likes of John Scofield andFred Wesley on LETTUCE’s debut, Outta Here, or Dwele on Rage!“There’s always something new to be learned as musicians and as people,” adds Shmeeans.“We’re trying to get a little bit better every day.”Says Ryan: “We realize more and more that this band is a gift we’ve been given. Everyonecontributes, like a successful sports team. We’ve really become family over the years. We’veknown there was magic in this from the moment we first got together as 16-year-olds.”That magic continues to grow with the band’s new album, a democratic ensemble in which thereis no leader, but a complete unit that functions as a single entity, with plenty of moving parts.All together now… Let us Elevate.

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