Lettuce

This is a co-promotion with Across-the-way productions

 

Advance tickets are $30 (plus fees)

Day of show tickets (if available) will be $$34 (plus fees)

 

LETTUCE

 

Adam Deitch: drums, percussion

Adam “Shmeeans” Smirnoff: guitar

Erick “Jesus” Coomes: bass

Ryan Zoidis: alto, baritone and tenor sax, Korg X-911

Eric “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 be smoked, (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 the prestigious 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 goals of LETTUCE’s sixth studio album, Elevate, and its ongoing re-interpretation of the band’s name as “Let Us.”  In their earliest days as students, they would roam the cities of the Northeast, and implore others to “Let Us play.”  Starting with their 2002 debut album, the phrase has been affixed to their first four albums, as in (Let Us) Outta Here (2002), (Let Us) Rage! (2008), (Let Us) Fly! (2012) and (Let Us) Crush (2015). Elevate (2019) is the band’s first studio album since 2016’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 and band co-founders, guitarist Adam “Shmeeans” Smirnoff and percussionist Adam Deitch, with legendary engineer Russ Elevado (D’Angelo, The Roots, Erykah Badu), Elevate shows LETTUCE touching on its past while moving full force into the future. The band explores its funk roots in the Tower of Power like punch of “Ready to Live” (the cover of a song by Cold Blood’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.