Great Divide

As its band name implies, Great Divide evokes memories of the classic Americana of The Band, whose "Across the Great Divide" remains one of the greatest rock and roll songs to paint a picture of an era not just bygone but quite possibly that never was. The romanticism in the instrumentation of this Chicago-based band makes Great Divide an authentic heir to the bands the members love. "Moorie" - with its legitimate horn section, juke-joint piano, soulful lead vocal, and period-correct backing vocals, featuring gospel singers from Chicago's south side - sounds like a tune that fell off the second side of Van Morrison's Moondance. This self-titled second album builds off the lessons of the group's 2010 debut, Reservoir.

It was recorded largely in four days at Milwaukee's Third Ward Studios, with follow-up session in Chicago and Rockford, IL. Typical of the modern music industry, the band relied entirely on a Kickstarter campaign to finance this album. It's for the best, since songs such as "Holiday," "Autumn Leaves", and "Fast Train" (evoking The Beatles' "I've Got a Feeling" in the opening guitar licks) deserve to be presented just as singer Teddy Grossman and Great Divide envisioned them. - iTunes

Great Divide vocalist Terry Grossman pours a soulful delivery over the Alt Country that the band pound through their speakers. Great Divide’s music follows that Soul/Alt Country path throughout the band’s recent self-titled release. Their sound is Memphis soul meets Muscle Shoals grit and funk. It is rock’n’soul glory with each note.

Hand claps and drum beats welcome in the piano in “Moorie”. The ‘happy days are coming’ story line is picked up by both a gospel choir and bright horns. In “Ain’t No Roads”, the gospel feel continues in its piano while the horns stay crisp and clear, spitting out over warm beats. Sun-baked vocals sing of the delta. Great Divide embrace their songs as much as they play them. There is a lot of love crafted into each arrangement. “Fast Train”, with guest vocals by Theo Katzman, wanders along over conjoined note patterns and dual vocals; “Hold You in My Arms” is a love letter that you feel like personally delivering to the recipient just to watch the smile spread over their face, and “Step Back” is a powerhouse of dirty guitar and challenging horns, a groove that is pounded into being.

No wrong turns separate the Great Divide album from its mission of granting audio blessingson all who listen. Two songs really stand out-- “Holiday” ambles over a soul rocker that swaggers along offering inspiration and answers about day-to-day life, and “Shine” rises up over a persistent booming beat that is an audio version of just how good the narrator feels being in the arms of love.

Great Divide is a Chicago based-band. Their self-titled second album effort was recorded in Milwaukee over a four day period. Terry Grossman speaks for Great Divide about the album creation, “Me and the guys in the band, we’ve wanted to do something like this our whole lives. And we devoted so much of ourselves to this record. We’re ready to take all that and go full speed.” DAN McCLOSKEY/RA - The Alternate Root

Effortless. That's the easiest way to describe the eponymous sophomore album from Chicago's Great Divide. Ostensibly a horn-driven soul-pop band, the quintet that is Great Divide are arguably one of roots music's up-and-comers. The most immediate trait about Great Divide that is worth mentioning is vocalist Teddy Grossman's soulful croon. Channeling the likes of Gavin DeGraw and Amos Lee, Grossman has a swerve and zest that immediately make Great Divide a band worth paying attention to.

Whether its the freewheeling opener "Ain't No Roads," ore the more introspective "Morrie," the disc starts off with a propulsive bang. The rollicking "Holday," carries things forward with aplomb, while the midtempo, horn-drenched "Hold You In My Arms," pines the depths of love in a way that is neither derivative nor saccharine. The disc's first half concludes with the sun-kissed "Shine," an old-school slice of acoustic soul that drips with swagger and polish.

The second act of Great Divide opens with "Autumn Leaves," a guitar-driven effort that most likely would falter in anyone else's hands, but in the hands of this septet it works itself rather well and only elucidates just how talented this collective truly is. It should be noted that if the bridge at the 1:39 in "Autumn Leaves," doesn't grab you, then Great Divide most likely is not the band for you. The Delta-inspired "Fast Train," employs a bit of restraint and in doing so makes arguably one of the strongest statements on the disc.

The swerving "Tennessee," is an open highway anthem wrapped up in three minutes of searing guitar work, while the sweetly affecting "It's Alright," is the very definition of ear candy. The album finishes with "Step Back," an effort that drips with all the trappings of New Orleans and "Easy Chair," a piano-driven ballad that seems destined to find its way into TV shows and public consumption.

The real genius of Great Divide is that the disc feels too easy. Never once does the album seem forced or like a band trying too hard. It almost feels as if the band has ten more albums like this up their sleeve. If indeed that is the case, than the Chicago music scene can consider themselves blessed. Having this band in their backyard is a true treasure.

Recommended If You Like
Amos Lee, Dave Matthews Band, Fitz and the Tantrums, The Right Now - Absolute Punk

http://issuu.com/performermagazine/docs/1303_web_v2/60 - Performer Magazine

http://issuu.com/performermagazine/docs/1303_web_v2/60 - Performer Magazine

New York, NY (December 18, 2012) - Pop, rock, indie: no matter the genre, there’s a
plasticity dominating today’s music world. Call it a “great divide” between what’s popular or
buzzed about, and bands offering something more heartfelt. Providing that musical honesty
is the aptly monikered Great Divide, a rock ‘n ’soul band full of passion, spontaneity and
groove. Great Divide releases their self-titled, sophomore record on March 5, 2013.

The group’s horn-inflected; soulful vibe has been a staple from day one. It’s Motown meets
Muscle Shoals, stopping' by Stax Records on the way up to Levon's. The band self-produced
their debut, Reservoir, in 2010 with Performer Magazine describing the album as, “A
strong set of tunes steeped in American roots music, but nonetheless entirely modern in
presentation…. the band filters this cocktail of blues, soul, and traditional rock - with nods to
country, funk, and even reggae - through a contemporary rock and pop lens that makes the
music entirely their own.”

When the time came to make that second album, the band stuck to their indie roots and
funded it entirely via Kickstarter. The group also expanded their sound, bringing in a bevy
of talented Chicago musicians behind the scenes. Helping out: producers Dan McMahon
and Darren Garvey, two multi-instrumentalists and recent collaborators with the likes of
Cory Chisel. Also lending a hand: James Auwarter, (Kanye West, Lupe Fiasco, Rihanna,
John Legend, etc.), who was brought in to engineer the record, as well as recruit some gospel singers from the Chicago’s South Side and up-and-coming Ann Arbor/Brooklyn
musician Theo Katzman. The final icing on the cake came from local brass-men dubbed,
“HornBread,” part of an up and coming Chicago hip hop/soul/jazz band called Sidewalk
Chalk.

Recorded in four days at Third Ward Studios in Milwaukee, with follow-up sessions in
Chicago and Rockford, IL, ?is an ambitious affair, moving effortlessly from soul to pop to funk,
all tied together by songwriter/vocalist Teddy Grossman’s lyrical openness and his way with a
hook.

Great Divide will be touring heavily in support of the album. Stay tuned for more
announcements in the New Year.

GREAT DIVIDE is:
Teddy Grossman - Vocals, guitar
Jeff Burke - Guitar, vocals
Jeff Leibovich - Keyboards
Josh Kahle - Bass
Josh Teitelbaum - Drums

http://www.greatdivideband.com
http://facebook.com/greatdividelive
http://twitter.com/greatdividelive
http://sonicbids.com/greatdivide

For more information, please contact:
Jeff Kilgour / Catie Monck
Tijuana Gift Shop
917.678.4420 / 646.285.1902
jeff@tijuanagiftshop.net / catie@tijuanagiftshop.net

### - Tijuana Gift Shop

New York, NY (December 18, 2012) - Pop, rock, indie: no matter the genre, there’s a
plasticity dominating today’s music world. Call it a “great divide” between what’s popular or
buzzed about, and bands offering something more heartfelt. Providing that musical honesty
is the aptly monikered Great Divide, a rock ‘n ’soul band full of passion, spontaneity and
groove. Great Divide releases their self-titled, sophomore record on March 5, 2013.

The group’s horn-inflected; soulful vibe has been a staple from day one. It’s Motown meets
Muscle Shoals, stopping' by Stax Records on the way up to Levon's. The band self-produced
their debut, Reservoir, in 2010 with Performer Magazine describing the album as, “A
strong set of tunes steeped in American roots music, but nonetheless entirely modern in
presentation…. the band filters this cocktail of blues, soul, and traditional rock - with nods to
country, funk, and even reggae - through a contemporary rock and pop lens that makes the
music entirely their own.”

When the time came to make that second album, the band stuck to their indie roots and
funded it entirely via Kickstarter. The group also expanded their sound, bringing in a bevy
of talented Chicago musicians behind the scenes. Helping out: producers Dan McMahon
and Darren Garvey, two multi-instrumentalists and recent collaborators with the likes of
Cory Chisel. Also lending a hand: James Auwarter, (Kanye West, Lupe Fiasco, Rihanna,
John Legend, etc.), who was brought in to engineer the record, as well as recruit some gospel singers from the Chicago’s South Side and up-and-coming Ann Arbor/Brooklyn
musician Theo Katzman. The final icing on the cake came from local brass-men dubbed,
“HornBread,” part of an up and coming Chicago hip hop/soul/jazz band called Sidewalk
Chalk.

Recorded in four days at Third Ward Studios in Milwaukee, with follow-up sessions in
Chicago and Rockford, IL, ?is an ambitious affair, moving effortlessly from soul to pop to funk,
all tied together by songwriter/vocalist Teddy Grossman’s lyrical openness and his way with a
hook.

Great Divide will be touring heavily in support of the album. Stay tuned for more
announcements in the New Year.

GREAT DIVIDE is:
Teddy Grossman - Vocals, guitar
Jeff Burke - Guitar, vocals
Jeff Leibovich - Keyboards
Josh Kahle - Bass
Josh Teitelbaum - Drums

http://www.greatdivideband.com
http://facebook.com/greatdividelive
http://twitter.com/greatdividelive
http://sonicbids.com/greatdivide

For more information, please contact:
Jeff Kilgour / Catie Monck
Tijuana Gift Shop
917.678.4420 / 646.285.1902
jeff@tijuanagiftshop.net / catie@tijuanagiftshop.net

### - Tijuana Gift Shop

This year’s Chicago Bluegrass & Blues Festival was kicked off by the play-in contestant winners and multi-talented young group, Great Divide. And with the griddle fired, breakfast being served adjacent to the main stage, these guys resurrected a sleepy-eyed crowd of eager early birds assembled at The Congress Theatre.

Great voices carry with them the ability to catch all, to captivate an audience, and to invite them in. So too does a full accent, in this case manifested by an extremely talented and deep accompanying band complete with keys, a soulful horn section, funky lead guitar, drums, and bass. You’ve got to appreciate a band that can bring it all together. The pure fact of coordinating so many personalities on stage, reflects in my eyes a maturity of the sorts that seasoned veterans possess. Great Divide is the type of band that brings together multiple layers that tingle the eardrum, beating it with pleasantries, on the brink of bridging the great divide between musician and the audiences’ great musical experience. The only unfortunate thing about the morning show was the brevity of the engagement. It was short lived but left a taste that beckoned more.

To that effect, look for a new album coming from these guys in the New Year of 2010, but until then, catch their music on MySpace and look for them touring around the country. Life and energy, vitality and youth, say it all, these guys have it, and with every new day and new exposure, they will start to collect a larger following and collect their just dues, guaranteed.

by Tim McAndrew - chicago.com/music

November 16, 2009. Chicago, IL. The Chicago Bluegrass and Blues Festival’s Last Banjo Standing tallied over 20,000 votes from Midwest music fans in the last month, yet a mere 7 votes separated 1st and 2nd place when voting ended at midnight on 11/16. Two bands earned it, so, two winners were crowned, as the Festival announced that both Sexfist and Great Divide will appear on the main stage with Bela Fleck & The Fleckstones, Dr. Dog and the Emmitt-Nershi Band this 12/12.

They’ll split the cash prize and share in the opportunity to repay their loyal followings with back-to-back sets to commence the day’s Main Stage lineup. Blues fusion extraordinaires Great Divide will kickoff the mainstage event, followed immediately by the hootenanny that is Sexfist. ADDED BONUS: Sexfist has invited its fans to enjoy “Break-Fist w/ Sexfist” while taking in the Great Divide set. More to come on what the boys will serve.


Sexfist, Chicago’s most politically incorrect band name, started as a duo in 2001 and has since become the five-man band spawned in May 2003. Recently, Sexfist has found themselves comfortably alongside Cornmeal as one of Chicago’s two most popular bluegrass acts. On tour since 2004, you can find them every Tuesday night at the Red Line Tap.

Great Divide, originally from Ann Arbor, MI, is a seven-piece band with two guitarists, drums, keyboards, bass and horns. Much like the festival itself, they are greatly influenced by the traditional roots of rock n roll, blues, country, funk and soul.

As our friends at Jambase so eloquently put, they’ll “set the tone for the night with tight, soulful horns, keys and a great jazz guitar bass combo.”

Chicago Bluegrass and Blues and Kingtello Presents want to congratulate both bands on their efforts in the contest as well as all the fans for participating.

Until Wednesday, November 18th at NOON, fans can visit www.ticketweb.com and use the Access Code “LBS” to save $5 celebrate the successful completion of the Last Banjo Standing contest.

- Chicago Bluegrass and Blues

One of the best thing a band could ask from their studio work is that is makes you want to see them live, and Great Divide's self-titled EP does just that. Listening to their brand of rock, which is somewhere in between the Band and the Black Crowes, really makes me wish I was seeing them in a bar with a beer in hand. Evoking such emotions is never a bad thing.

This EP came at the perfect time as well. As the weather warms, Great Divide is excellent for listening to with the windows rolled down. Personally, my favorite track is "Get Down." With an ambitious title like that, it kind of has to be good.

Throughout the EP, the horns kept my head bopping as the voice of Teddy Grossman, with it's soul, blues and rock undertones, bring the songs to life. Joey Gaon's guitar wails all the way through, and the keys of Jeff Leibovich really round out the sound. Be sure to check out the EP, and the band when they come to a town near you. You won't be able to resist. -A.S. - Festival Crashers

Joe Russo Quartet :: 02.13.09 :: Sullivan Hall :: New York, NY


Joe Russo Quartet :: 02.13.09
Sullivan Hall (formerly the Lion's Den) is a 345-capacity venue in Greenwich Village, NYC. The lights and sound are spot-on for a small venue and once you step inside you are swallowed by a low-lit ambiance with the gritty feel of a dive bar. Though low key and comfortable, some of the best touring musicians grace the stage, making it a unique rock club in NYC. The bands that are booked range from the relatively unknown to world renowned groups that appeal to more eclectic, counterculture tastes. Beautiful photographs line the walls of artists like Grace Potter, Warren Haynes and Col. Bruce Hampton, serving as an indicator of what to expect from this venue.

Joe Russo is a Brooklyn-based musician that is also a regular on the festival scene, something I respect as not many NYC jazz musicians are inclusive enough to share the stage with such diverse talent. This show was the night before Valentine's Day and was really two concerts in one. Three independent bands played earlier in the night and The Joe Russo Quartet took the stage around midnight. The late night show was billed as a post-moe. gig, as the legendary live band was playing just up the street at Terminal 5.

The bands on the earlier bill were lesser known, though each demonstrated a lot of potential. Shotgun Stereo is an NYC group that could be considered by some to be punk rock. They impressed me with their ability to get an authentic blues sound, a quality lacking in much rock music today. Bryan Fenkart is a singer-songwriter from Astoria, Queens that reminded me of Ben Folds, playing melodic, soft music. The Great Divide from Ann Arbor, MI was the most jazz influenced of the three, setting the tone for the night, with tight, soulful horns, keys and a great jazz guitar/bass combo. I presume the sophisticated talent of this band is the result of formal musical training.

A broad swath of music fans are attracted to Joe Russo and his other project the Benevento/Russo Duo. These range from jazz freaks, neo-hippies/yippies and the scourge that is NYC hipsters. The Duo's ability to appeal to such a varied audience is due to a combination of unique musical style, location and a willingness to branch out. Joe Russo and Marco Benevento are both pillars of the NYC experimental jazz scene. Like Medeski Martin and Wood, they are carrying the torch for this tradition in New York and keeping improvisation alive.


Joe Russo Quartet :: 02.13.09
After Great Divide finished their set, the quartet took the stage. Taking almost an hour to carefully set up their own gear, they were the picture of hard working musicians. The Joe Russo Quartet features Jonathan Goldberger on guitar, Erik Deutsch on keys, Todd Sickafoose on bass and Russo on drums. Sullivan Hall allowed the players ample freedom to experiment and the set was full of long improvisations. The music did not have elaborate chord progressions or changes, but rather placed emphasis on playing with rhythms and time in creative ways. The emphasis on rhythm was due to the show being centered on the drummer, something fairly unique at most rock or jazz concerts. This gave the music a different element that I appreciated most when I was conscious of and concentrated on the fact that the drummer was the focus of the show. The melodies and chord changes were less important than the acceleration and deceleration of tempo, the subtle shifts in rhythms and the difficult time signatures.

One of the best things about Sullivan Hall is the unpretentious, casual atmosphere. The music business in general can feel like a perpetual competition for one-upmanship in a game of "hipper than thou." For this very reason it is difficult to sound sincere when writing about music, thankfully, Web 2.0, blogs and the comment system have been important in helping to keep the media authentic and in check. Sullivan Hall is a venue for the people; the smaller stage does not put the musician on such a high pedestal as to separate them completely from the audience. The line gets blurred between the music and the audience, creating an interaction and synergy that is important to the live music experience, and which is difficult to replicate in arenas and large, fancy venues.

As I left the building, I walked through the surrounding neighborhood of Greenwich Village, one of the most colorful parts of NYC. I thought back to the history of the 1960's counterculture embedded in the area. I look forward to Sullivan Hall bringing more of this particular type of niche music that is hard to find anywhere else on a regular basis.
- JamBase

Contributing Writer/Photographer: Thomas Fennell IV

For three cold nights in Chicago, people from all walks were able to come together for the Chicago Bluegrass and Blues Festival, touted as a summer festival in the winter, and it felt like just that.

For the festival veterans and new adventurers alike, the festival offered all the right ingredients: a variety of venues, vendors, food options and most importantly, people and musical styles. Bluegrass and blues may have played less of a role this year than in previous billings, but the foundation characteristic of homemade, from-the-heart music, shone brightly throughout the acts presented each night. Each night had something for everyone, and while Saturday night brought headliners Grace Potter & The Nocturnals as well as Edward Sharpe and the Magnetic Zeros to the stage, it was a long weekend of great music that didn’t seem to have only one crescendo.

After three nights, five stages, dozens of performances and thousands of photographs shot, it’s difficult to put together a brief summary of all the music present, but suffice to say: we had plenty of, well, everything. There were guys with guitars, gals with tambourines, hip hop and string bands. Powerful vocals rocked us throughout, from the soul-infused Great Divide and The O’Mys to the emerging favorite Daphne Willis and always-wild Grace Potter. Great Divide was a band I heard about prior to the fest, but never could imagine just how tight and well-focused this group of talented instrumentalist could be. We’re talking erupting vocals, horns, a cool man tickling the ivory keys and steady rhythms that kept the crowd moving! We were even lucky enough to get “Tell Mama,” an Etta James cover. I could spend more time on this band, but I will let me brief words stand as a testament to the power within the Great Divide. (Here is their set list, by the way: Shine, Hear My Train, Ain’t No Roads, Waiting, Tell Mama, Step Back, Freedom Bell, Follow Me Down)

Speaking on the truth of bands, instrumentation was paramount–and groups like How Far to Austin, The Giving Tree Band, Cory Chisel and the Wandering Sons and Edward Sharpe showed us just how many talented musicians can be crammed onto a stage at once. Lest we forget the roots of this fine fest, Liberty Bluegrass Band and Sexfist kept the string band crowd amused with energetic, down-home performances.

Short sets and even shorter setbreaks ensured that the music kept going and going. Friday night at the Double Door was the perfect kickoff to the weekend; a comfortable bar/venue that most in attendance had probably visited before, but tonight it was clear–with music sliding between soul, rock, and a bit of hip hop–the festival spirit was in full swing, and we might not have known what we were in for next, we were in good hands.

Saturday’s action spanned multiple stages within the legendary Congress Theater, with acts simultaneously playing within the main venue and the ornate lobby. Even between main-stage sets, acts positioned in the balcony kept the crowd entertained and never let that “bored watching the roadies soundcheck the drums” feeling set in. Sunday night, The Environmental Encroachment Magic Circus Band lived up to their mysterious name and energetically bridging the gaps between main-stage sets with impromptu drum circles, brass jams, parades and dancing–each time garnering a few curious head-tilts from recent arrivals, but coaxing out smiles and toetaps just as quickly.

A great time was certainly had by all in attendance, and it seemed a worthy reminder of the fun that awaits us all as the summer festival season begins to head back our way… - Roving Festival Writer

"Across the 'Great Divide'"
Great Divide
Reservoir
Ann Arbor, MI/ Chicago, IL
All songs written by Teddy Grossman// "Waiting," "Meet Her In The Morning," "Rainey Bethea Blues," and "Waters Roll In" written by Grossman and Randy Freedman// "Do Me Right" and "Fleetwood" written by Grossman and Jeff Leibovich// Recorded and mixed in Roshambo Studios in Hazel Park, MI, and White Room Studios in Detroit, MI

On their debut album Reservoir, Great Divide issues a strong set of tunes steeped in American roots music, but nonetheless entirely modern in presentation. Inspired by the past but not indebted, the band filters this cocktail of blues, soul, and traditional rock - with nods to country, funk, and even reggae - through a contemporary rock and pop lens that makes the music entirely their own.

Though hailing from Ann Arbor, MI, the band fronts a Stax soul-influenced horn section with a 70's Southern rock style lead guitar. Pairing that sound with lead vocals reminiscent of a more soulful John Mayer - with some Warren Hayes and Amos Lee thrown in - gives them a decidedly Southern flair. The result is the vibe of a tight jam-band with traditional song structures instead of extended jams.

Album highlights include the dueling guitars of "Meet Her in the Morning," and the sun soaked, bittersweet country harmonies of "Woah Mama." Other standouts are the burning piano cum Chicago blues guitar riffing in "Rainey Bethea Blues" and the smooth soul of "Do Me Right," a cut that would have sounded right at home on a Bill Withers album.

For an album containing an ode to the last publicly executed man in the United States, Reservoir is a surprisingly upbeat affair. In fact, I doubt Teddy Grossman and company could sound sullen if they tried. Even at its most serious, Reservoir sounds like the band is smiling through the entire set. It's hard not to smile along with them. (Shy Arbor Music) - Performer Magazine

Welcome to Singled Out! where we ask artists to tell us the inside story of their latest single. Today Great Divide's frontman Teddy Grossman tells us about "Spare Any Change" from their brand new album "reservoir". We now turn it over to Teddy for the story:
'Spare Any Change' is a song inspired by a man who goes by the name of "Runnin' Ronnie", Ann Arbor's favorite vagabond. Ronnie is known all over town as the most popular (and successful) 'fundraiser' for his coined incantation "Spaaaaaaaaare any change my good friend?" Whether or not he'd received any donations, Ronnie would leave you with a fleeting farewell "well, you have a nice day." A pleasant departure from the usual begging practices we are normally accustomed to. Over the course of my years in school I got to know Ronnie a little bit, sticking around for a few minutes to chat with him every now and then. I was always amazed by Ronnie's gleeful demeanor and zest for life, and I even introduced him to my parents when they were in town! Of course Ronnie wasn't always all smiles, as every once in a while he would go on rants about all those women that did him wrong. Getting to know Ronnie had a profound effect on me, and I just couldn't get his "Spare any change?" line out of my head.

As far as actually writing the song, the main hook on the verse really just wrote itself. In truth, the song isn't really about Ronnie the individual. The first verse focuses more on the plight of a person living below poverty lines. Within the first week of arriving in Ann Arbor my freshman year, we received news of the terrifying disaster and of Hurricane Katrina. The shock and horror of the storm and the events that followed had never really left my mind and became the focus of the second verse of the tune, as the scope of the subject matter broadens as the song progresses.

Before we entered the studio, I was really hoping to get Ronnie's voice on the record, since there would be no better way than to pay homage to the man then get his famous line on tape. So one day after we had already tracked the tune I was with Ronnie, and called our drummer Josh, and told him to let his phone go to voicemail. We had Ronnie drop his line on Josh's answering machine and the rest was history. - Antimusic.com

At seven members strong, Great Divide's music fuses soul, roots and blues-rock into a collaborative sound, blending each member's influences and personality to create their enthusiastic brand of earnest, down home rock and roll. It's fitting, then, that members Teddy (guitar, vocals, harmonica), Jeff (piano, organ, Rhodes, Clavinet), Josh (drums, percussion), Joey (guitar), Hiro (bass), Eric (tenor and baritone sax) and Jake (trombone and trumpet) credit listening to their families' record collections as kids for shaping their style. Little Feat, Stevie Wonder, Bill Withers and The Band are just a few of the countless artists Great Divide cites as inspiration.

The band's family approach to their music is equally apparent on-stage, and in the studio on their debut full-length, Reservoir.

Set for release on May 4th, Reservoir was recorded in Detroit, MI in 2008, just before Great Divide relocated to Chicago. The guys quickly realized that tracking together in the live room without isolation naturally captured the raw energy of their on-stage performances and allowed each band member to feed off of one another's input. After laying down the funk infused "Freedom Bell," the soul-drenched "Do Me Right," barroom, bluesy "Rainey Bethea Blues" and the smoky, ambling "Waters Roll In" in that technique at the White Room, Great Divide wrapped up the album's remaining nine tracks at Roshambo Studios in Ferndale, MI. The organic feel of their music is what propelled the session forward, but what sets the recording apart is the sound captured by an arsenal of vintage and boutique gear that Great Divide incorporated into their session.

Reservoir captures the audience-energy that Great Divide played off of at festivals like the Chicago Bluegrass & Blues Festival, alongside Dr. Dog and Bela Fleck at the Congress Theater and venues such as Sullivan Hall in New York, 8X10 in Baltimore and Ann Arbor's Blind Pig – a formative venue for this group of University of Michigan students and alumni.

Continuously working to honor the elements of rock's rich history while exposing a new generation to their brand of down-home music, Great Divide's twelve track debut sounds like it's been somewhere and traveled a great many miles to reach the ears of each and every listener. Great Divide will hit the road this May, in support of Reservoir, with a set that Jambase has described as "tight," "soulful" and possessing a "sophisticated talent."
- Antimusic.com

Great Divide is a roots rock band that sounds a lot like New Monsoon with a brass and woodwinds section. Founded in Ann Arbor, Michigan, the members share a wide variety of influences, including funk, country, blues, reggae and rock.

Their debut full length Reservoir is an aptly titled collection of songs showing all those genres, messing them up and lcoking back inot the groove - and all of it is delivered with confidence. Vocalist and songwriter Teddy Grossman has enough power to float on top of the heavy instrumentation, with the gentle touch of keyboardist Jeff Leibovich serving as a the musical quarterback. RIYL: New Monsoon, Back Yard Tire Fire, The Bridge and the Ryan Montbleau Band. - Here Comes the Flood