Atmosphere, Rogue Valley, Recplacements Tribute, and more

Rogue Valley unveil their third album of 2010 this week at the Cedar

Rogue Valley unveil their third album of 2010 this week at the Cedar


Black Dub feat. Daniel Lanois

Cedar Cultural Center

Black Dub is the latest project from production wizard, musician, and composer Daniel Lanois, whose studio work has resulted in landmark albums for such heavyweights as U2, Bob Dylan, Peter Gabriel, the Neville Brothers, Emmylou Harris, and, lately, Neil Young's Le Noise. His signature sound involves potent atmospherics laden with soulful intensity and swirling squalls of roots. That carries over into Lanois's own work, including Black Dub, actually a quartet including the highly versatile and supple New Orleans rhythm section of drummer Brian Blade and bassist Daryl Johnson, plus powerhouse singer Trixie Whitley, daughter of the late Texas bluesy guitarist Chris Whitley. The Black Dub moniker reportedly is derived from Lanois's strong Jamaican influences and a new dub technique he developed. The music is a seamless mosaic of blues, soul, gospel, avant-pop, roots rock, jazz, and psychedelia, plus strong undercurrents of New Orleans and reggae/dub. Tracks most subject to Lanois's studio tricks, such as "Slow Baby," conjure an earthy impressionism electrified by Lanois's shimmery, stinging guitar (which references Hendrix here and elsewhere) and the charged, slippery rhythm section. Just in her early 20s, the Belgian-born Whitley infuses her vocals with large measures of Texas grit and sassy spirit, picking up tendrils that stretch back to Janis herself. All ages. $20/$22 at the door. 7 p.m. 416 Cedar Ave. S., Minneapolis; 612.338.2674. —Rick Mason

FRIDAY 11.26

Rogue Valley (CD-release)

Cedar Cultural Center

Local singer-songwriter Chris Koza renamed his band Rogue Valley last spring and launched a dauntingly ambitious plan to issue four new albums in less than a year, all tied to the seasons. Spring's Crater Lake and summer's The Bookseller's House came out to glowing reviews, to be joined by autumn's Geese in the Flyway with this album-release show, where the band will play the entire album in order. The band, which includes longtime Koza associates Luke Anderson, Joey Kentor, Linnea Mohn, and Peter Sieve, must be getting adept at brisk turnarounds, with work set to begin immediately on the winter installment, due out in February. Geese picks up the nature imagery of Koza's earlier lyrics and travelogue setup of spring and summer while the overall mood is, well, autumnal. A string quartet turns up occasionally, nicely meshing with the group's richly evocative vocal harmonies, which shift subtly as the band moves from chamber folk to country rock to Beatles/Beach Boys pop. Opener Stornoway, meanwhile, is a much buzzed-about quartet from Oxford, England, that released its full-fledged debut, Beachcomber's Windowsill, in August. Led by Brian Briggs's choir-boy high tenor, Stornoway play infectious folk-pop that can be effervescent but still harbor dark undercurrents that suggest deeper implications and a familiarity with indie rock. Additional support Major General is the solo project of multi-instrumentalist Franz Nicolay of the Hold Steady. All ages. $14. 7 p.m. 416 Cedar Ave. S., Minneapolis; 612.338.2674. —Rick Mason

A Tribute to the Replacements

First Avenue

So much has been written and discussed about the Replacements that the romanticized myths about Minneapolis's favorite bar band far exceed the hazy memories of anyone who was actually there to witness their notorious mayhem in person. But no matter what scandalous stories you've heard about the 'Mats, their spirited and celebrated music lives on and speaks louder than any riotous rumor or recollection ever will. Which is precisely the reason why a who's who of the local scene is getting together to pay tribute to not only the infamous band themselves, but specifically their venerable major-label debut, Tim, which will be covered in its entirety throughout the night by a variety of special guest vocalists, featuring Justin Pierre of Motion City Soundtrack, Josh Grier of Tapes 'N Tapes, and Ben Kyle of Romantica, to name just a few. There is a lot to love about the Replacements, which is why both the Mainroom and the Entry will be filled with bands covering their indelible music all evening, with diverse groups ranging from the Honeydogs, Pink Mink, the White and Lazy All-Stars (featuring members of Chooglin'), Communist Daughter, and many more, all trying their hands at tackling the arresting songs of Paul Westerberg and the gang. With the raucous music of the Replacements serving as a catalyst for the evening, the tribute promises to be a loose, enjoyable affair that, if done properly, will generate a lot of blurry, enduring memories for everyone involved. And with proceeds going to the Twin Cities Music Community Trust, all of the fun will be for a good cause as well. 18+. $6/$8 at the door. 7 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Erik Thompson


Tame Impala

7th St. Entry

If the sun-dappled stoner jams aren't coming from California, Australia sure seems like the next best breeding ground. Aussie psych-revivalists Tame Impala employ some brawny riffage in their music, but temper the outsized guitars with a hypnotic, mushroom-munching progressivism that calls to mind the titans of classic '60s rock. Their songs have a spacey fluidity that's Marianas Trench-deep without treading fully into "jam band" territory, and it's frighteningly easy to lose yourself in the swirling undertow of trippy synthesizer and crater-sized reverb. Kevin Parker's drawn-out, multi-tracked vocals hold all the pieces together, one final ethereal element to unmoor you from reality and launch you fully into the band's smoky dream world. Hipsters will love Tame Impala's trendy, buzzing lo-fi feel, even though it's used in service of a vintage aesthetic smacking so thoroughly of free love and plumes of incense smoke that aging members of the counterculture will feel right at home—well, until the flashbacks get a little too intense, anyway. With Stardeath & the White Dwarves and Kuroma. 18+. $12. 8 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. —Ian Traas


First Avenue

There's no denying the wealth of talented hip-hop purveyors here in the Twin Cities, but Atmosphere's status at the top of the food chain is equally undeniable. Slug and Ant have enough influence and respect to rival a mafia don, though the duo would obviously rather be loved than feared. Slug's trump card has always been his relatability, blowing up the details of everyday life and imperfect relationships to a widescreen view instead of focusing on impossible levels of wealth or bravado, while Ant's productions revel mostly in the summery warmth of gospel, soul, and blues. Their popularity revolves around this unflinching realness, and they have scores of followers across the globe that are sick to death of rap's fixation on the synthetic, whether in terms of sound or sentiments. But, even though Atmosphere is one of the most recognizable names in independent hip hop, they love their hometown, and their annual two-night stint at First Avenue is nothing if not an appreciative nod to their ever-faithful legion of local fans. With special guests. All ages. $20. 6 p.m. 701 First Ave. N., Minneapolis; 612.332.1775. Also Sunday —Ian Traas

SUNDAY 11.28

Mavis Staples

Cedar Cultural Center

When she was 11 years old, Mavis Staples was singing lead for her family gospel/soul/pop group the Staple Singers, whose music not only provided support and inspiration for the Civil Rights Movement but later ascended the charts with nuggets like "Respect Yourself" and "I'll Take You There." Sixty years later, Staples is still going strong, her marvelous, power-packed voice a wonder of growls, cries, and whispers that stir up a lifetime of emotions. After initially struggling to find a solo contemporary niche, Staples returned to her strengths—gospel roots and civil rights standards—and her revived career has soared. This fall's You Are Not Alone, produced by Wilco's Jeff Tweedy, even more specifically returns to the Staple Singers' legacy of spare, sharply focused arrangements of material that blur the lines between gospel, soul, R&B, and pop. Two Tweedy originals—the laid-back but emotionally charged title track and the bluesy, politically charged "Only the Lord Knows"—along with distinctive covers of Randy Newman, Allen Toussaint, and John Fogerty are matched with a handful of trad gospel tunes and a few written by the Staples' late patriarch Pops. Mavis rolls through it all with stylish assurance, her raw energy and uplifting spirit rumbling out of her rich lower register. And she saves perhaps the best for last: a splendid a capella run through the gospel standard "Wonderful Savior" with two backup singers, plus Pops's "All the Way to Heaven," sparked by Rick Holmstrom's Delta blues guitar, celestial harmonies, and gritty call-and-response vocals, Mavis's voice a glowing, resonant force of nature. With Roma di Luna. All ages. $35/$40 at the door. 7 p.m. 416 Cedar Ave. S., Minneapolis; 612.338.2674. —Rick Mason

MONDAY 11.29

Leo Kottke

Guthrie Theater

If turkey, sweet potatoes, and cranberries are dominating every menu in sight, it must be time for Leo Kottke's annual ramble into town for his Thanksgiving week concert, for years his sole concession to hometown fans. Kottke, of course, is an internationally renowned fingerstyle guitarist, long ago a protégé of John Fahey, well established as an eccentric fretboard genius. Mostly instrumental, mostly solo, Kottke's material deftly embraces folk, classical, jazz, and pop, combining with his supreme facility on the instrument and occasional dazzling bursts of speed to create a style that can only be called Kottke-esque. He's even been caught singing from time to time, in a decent baritone that he nonetheless often disparages. And he's notorious for a deadpan, fundamentally surrealist sense of humor frequently illustrated with a reference to waterfowl flatulence, which he's undoubtedly sorely sick of at this late date. Kottke's once prolific recording career has lagged in recent years, but he's also gotten more creative in assembling these turkey toots. This year's guest will be Robert Barto, a master lute player raised in California, long based in Germany, and an expert on Baroque composers, and lutenists Silvius Leopold Weiss and Joachim Bernhard Hagen. Esoteric? Sure, marvelously so. And also great for helping digest yams and dressing. All ages. $38-$43. 7:30 p.m. 818 S. Second Ave., Minneapolis; 612.377.2224. —Rick Mason


Christmas with the Aaron Neville Quintet

Dakota Jazz Club

Aaron Neville ranks right up there among the myriad singular phenomena of New Orleans music. Taking just one facet of his many talents, Neville is a spectacular soul and gospel singer, his utterly unique fluttery delivery and impossibly airy, soaring falsetto both instantly recognizable and impossible for anyone else to even approximate. Then there's always the stark contrast between the gossamer delicacy of Neville's voice and his bulging muscles and the knife tattoo on his cheek. At New Orleans's annual Jazz Fest, Aaron's other band, the equally iconic Neville Brothers, typically close out the entire affair on one of the main stages. But, usually unannounced, Aaron invariably shows up at the Gospel Tent to sing with friends like the Zion Harmonizers. And it's gospel that's the focus of his wondrous new album, I Know I've Been Changed: a dozen standards kicked off by Sam Cooke's "Stand By Me," produced by studio ace Joe Henry and featuring piano from fellow NOLA icon Allen Toussaint, who produced Aaron's first recording session in 1960. A few of those tunes might make it into the Dakota set, as well as Aaron's solo nugget "Tell It Like It Is," but the emphasis will be on Christmas, which Aaron has done up superbly on a couple of holiday discs, running the gamut from pop to spiritual. And the band should be great too, led by brother Charles Neville and his sinuous jazz sax. $55-$90. 7 p.m. 1010 Nicollet Mall, Minneapolis; 612.332.1010. Also Wednesday —Rick Mason