Newswire

Jacob Fred Jazz Odyssey Announce 34-City North American Tour

Jacob Fred Jazz Odyssey have announced a 34-city North American tour in September and October to support their new EP, One Day In Brooklyn. The band will begin the trek in their home state of Oklahoma before hitting Texas for two nights and then heading west where they'll work their way up the left coast to Seattle. After one night back in Tulsa for a release party and performance, they'll immediately join Phish bassist Mike Gordon as opening support on seven shows. From there, JFJO thoroughly covers the Northeast and then wraps the tour with a handful of dates in the Midwest, including Halloween in Kansas City.

 

jfjoOne Day In Brooklyn will be released September 1 on JFJO's own label Kinnara Records through a partnership with The Royal Potato Family. It's the band's first release since pianist Brian Haas and drummer Josh Raymer expanded the line-up to a quartet with the addition of lap steel guitarist Chris Combs and upright bassist Matt Hayes. Recorded in one day at 58NS Studios in Williamsburg, Brooklyn, JFJO feature two original tunes ("Country Girl" and "Drethoven") along with interpretations of songs by Rahsaan Roland Kirk, Abdullah Ibrahim, The Beatles and Thelonious Monk.

 

The upcoming JFJO tour dates are:

September 2 | The Deli | Norman, OK (w/ Annie Ellicott)
September 3 | Granada Theater | Dallas, TX (w/ Annie Ellicott)
September 4 | The Parish Room | Austin, TX (w/ Annie Ellicott)
September 5 | Arts Festival Oklahoma | Oklahoma City, OK (w/ Annie Ellicott)
September 8 | Lou's Records | San Diego, CA (5pm In-Store)
September 8 | Winston's | San Diego, CA (w/ Heavy Guilt)
September 9 | Catalina Jazz Club | Hollywood, CA (w/ Eartha Austria Trio)
September 10 | Kuumbwa Jazz Center | Santa Cruz, CA
September 11 | Cafe Du Nord | San Francisco, CA (w/ The Last Ambassadors)
September 12 | Red Fox | Humboldt, CA (w/ Eskmo & Welder)
September 17 | The Dojo @ Well Springs | Ashland, OR
September 19 | Music Millennium | Portland, OR (3PM In-Store)
September 19 | Jimmy Mak's | Portland, OR
September 20 | High Dive | Seattle, WA
September 25 | The Marquee | Tulsa, OK (w/ Annie Ellicott)
September 26 | Barrymore Theatre | Madison, WI (opening for Mike Gordon)
September 28 | 20th Century Theater | Cincinnati, OH (opening for Mike Gordon)
September 29 | Blind Pig | Ann Arbor, MI (opening for Mike Gordon)
September 30 | Mr. Small's Theater | Millvale, PA (opening for Mike Gordon)
October 2 | The Mod Club | Toronto, Canada (opening for Mike Gordon)
October 3 | Town Ballroom | Buffalo, NY (opening for Mike Gordon)
October 4 | Pure Pop | Burlington, VT (2PM In-Store)
October 4 | Higher Ground | Burlington, VT (opening for Mike Gordon)
October 6 | La Salla Rossa | Montreal, QC
October 7 | Gemstones | Lowell, MA
October 8 | Narrows Center For The Arts | Fall River, MA
October 9 | Le Poisson Rouge | New York, NY (w/ Moodswing Orchestra)
October 10 | Tritone | Philadelphia, PA (w/ Jason Fraticelli & the Wet Dreams)
October 13 | Mill Hill Saloon | Trenton, NJ
October 15 | Red Square | Albany, NY
October 16 | Downright Music & Art | Collinsville, CT
October 17 | The Lizard Lounge | Boston, MA
October 21 | Iowa City Yacht Club | Iowa City, IA
October 22 | The Encore | Stevens Point, WI (90-FM Jazz Fest)
October 23 | Cranky Pat's | Neenah, WI
October 24 | Kinetic Playground | Chicago, IL
October 31 | Jardine's | Kansas City, MO (w/ special guest Mark Southerland)

Sam Bush Honors First Loves on "Circles Around Me"

Sam Bush doesn't seem old enough to be a musical legend. And he's not. But he is. In September, the Americana Music Association with its Lifetime Achievement for Instrumentalist award will honor Bush, who is alternately known as the King of Telluride and the King of Newgrass. "It's overwhelming and humbling," says Bush of the honor. "It goes along with the title cut of my new album, Circles Around Me, which basically says, how in the hell did we get this far? In my brain I'm still 17, but I look in the mirror and I'm 57."

sam-bushCircles Around Me, Bush's seventh solo album and sixth with Sugar Hill, will be released Oct. 20. The album is an aurally inspiring mix of bluegrass favorites and complementary new songs. "I don't know why, but it felt right at this moment in my life to go back and revisit some things that I've loved all my life, which is bluegrass and, unapologetically, newgrass," says Bush. "After all these years of experimenting --and there's experimentation on this record too --I've come full circle."

Produced by three-time Grammy winner Bush, the 14-song set includes appearances by Del McCoury, Edgar Meyer, Jerry Douglas and New Grass Revival co-founder Courtney Johnson (posthumously). The album also employs the phenomenal talent of Bush's band: Scott Vestal, Stephen Mougin, Byron House and Chris Brown.

The title cut, which Bush co-wrote with Jeff Black, "is about being thankful that you're still here, that you're still alive walking around," Bush explains. "Why are we the ones still here when we've had fallen comrades and loved ones?"

"The Ballad of Stringbean and Estelle," which Bush co-wrote with Guy Clark and Verlon Thompson, is the haunting real-life story of the 1973 murder of Grand Ole Opry star David "Stringbean" Akeman and his wife.

Courtney Johnson, who passed in 1996, was reunited with Bush on the album thanks to New Grass Revival producer Garth Fundis, who found a previously unreleased recording with Bush and Johnson's fiddle and banjo recording of  "Apple Blossom" from 1976. The tape was restored and new parts were added. "It's pretty special and it means a lot to me," Bush says. "It reminds me how much I loved Courtney's playing."

Meanwhile, "Souvenir Bottles" and "Whisper My Name" are fine updates of songs Bush first recorded in his New Grass Revival days. "I guess I'm proud that I can still sing it in the key that we first cut it in," Bush says of "Whisper," which was on New Grass Revival's 1972 debut album.

McCoury, whom Bush has known since the mid-60s, guests on two Bill Monroe songs, "Roll On Buddy, Roll On" and "Midnight On The Stormy Deep." "Del always encouraged me to sing," Bush says. "So I wanted to do these songs with him. 'Roll On' is one of the few songs Del ever recorded with Bill."

Songs such as "Diamond Joe" and "You Left Me Alone" have roots in Bush's youth. The latter was on an album by the Country Gentlemen that Bush bought in the '60s. "It's a great 6/8 fast waltz tune and I am almost quoting John Duffey's mandolin playing note for note," he says. "It's a great tune and I never heard anyone else do it."

The Bush-penned "Old North Woods" is a "Bill Monroe-sounding waltz," according to Bush, that features Meyer, his wife, Cornelia Heard of the Blair String Quartet, and their 16 year old son, George, in his recording debut.

There's plenty more of course and Bush fans new and old will find plenty to love. "It's crazy to think about," Bush says of his influence on today's crop of mandolin players. "I'm proud to be part of a natural progression in music. But I hope to still be playing 30 years from now."

National Jazz Museum in Harlem September Schedule

This month the National Jazz Museum in Harlem features films galore, discussions with musicians, jazz educators and journalists, and live performances at one of the best acoustic halls in New York City.

Jazz for Curious Listeners will focus on the artistry of several of the most unique stylists and improvisers in jazz history as seen on film: pianists Dave Brubeck, Cecil Taylor and Art Tatum, saxophonist Rahsaan Roland Kirk and guitarist Django Reinhardt. Our flagship series, the bi-weekly Harlem Speaks interview, is proud to bring jazz drummer and jazz education pioneer Clem DeRosa and the ingenious young jazz pianist Jason Moran to the forefront of discussion at our Visitor's Center. Journalist Ted Panken has been in the thick of the jazz journalist community for decades, and a respected jazz radio announcer to boot. He's featured at Jazz for Curious Readers.

Live performances, where music holds sway beyond words, are the attraction for Harlem in the Himalayas, where pianist Fred Hersch, and saxophonist David Binney will, respectively, hold court.

And don't miss an exclusive preview screening of the PBS documentary, "Latin Music U.S.A." at our Saturday Panel, hosted by one of its creators, musician and historian Bobby Sanabria.

Tuesday, Sept. 1, 2009

Jazz for Curious Listeners
Dave Brubeck
7:00 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Jazz on Film
Dave Brubeck has long served as proof that creative jazz and popular success can go together. Although critics who had championed him when he was unknown seemed to scorn him when the Dave Brubeck Quartet became a surprise success, in reality Brubeck never watered down or altered his music in order to gain a wide audience. Creative booking (being one of the first groups to play regularly on college campuses) and a bit of luck resulted in great popularity, and Dave Brubeck remains one of the few household names in jazz.

From nearly the start, Brubeck enjoyed utilizing poly-rhythms and poly-tonality (playing in two keys at once). He had classical training from his mother, but fooled her for a long period by memorizing his lessons and not learning to read music. He studied music at the College of the Pacific during 1938-1942. Brubeck led a service band in General Patton's Army during World War II and then, in 1946, he started studying at Mills College with the classical composer Darius Milhaud, who encouraged his students to play jazz. During 1946-1949, Brubeck led a group consisting mostly of fellow classmates, and they recorded as the Dave Brubeck Octet; their music (released on Fantasy in 1951) still sounds advanced today, with complex time signatures and some poly-tonality. The octet was too radical to get much work, so Brubeck formed a trio with drummer Cal Tjader (who doubled on vibes) and bassist Ron Crotty. The trio's Fantasy recordings of 1949-1951 were quite popular in the Bay Area, but the group came to an end when Brubeck hurt his back during a serious swimming accident and was put out of action for months.

Upon his return in 1951, Brubeck was persuaded by altoist Paul Desmond to make the group a quartet. Within two years, the band had become surprisingly popular. Desmond's cool-toned alto and quick wit fit in well with Brubeck's often heavy chording and experimental playing. Joe Dodge was the band's early drummer but, after he tired of the road, the virtuosic Joe Morello took his place in 1956; while the revolving bass chair finally settled on Eugene Wright in 1958. By then, Brubeck had followed his popular series of Fantasy recordings with some big sellers on Columbia, and had appeared on the cover of Time (1954). The huge success of Paul Desmond's "Take Five" (1960) was followed by many songs played in "odd" time signatures such as 7/4 and 9/8; the high-quality soloing of the musicians kept these experiments from sounding like gimmicks. Dave and Iola Brubeck (his wife and lyricist) put together an anti-racism show featuring Louis Armstrong (The Real Ambassadors) which was recorded, but its only public appearance was at the Monterey Jazz Festival in the early '60s.

The Dave Brubeck Quartet constantly traveled around the world until its breakup in 1967. After some time off, during which he wrote religious works, Brubeck came back the following year with a new quartet featuring Gerry Mulligan, although he would have several reunions with Desmond before the altoist's death in 1977. Brubeck joined with his sons Darius (keyboards), Chris (electric bass and bass trombone), and Danny (drums) in Two Generations of Brubeck in the 1970s. In the early '80s, tenor saxophonist Jerry Bergonzi was in the Brubeck Quartet, and beginning in the mid-'80s, clarinetist Bill Smith (who was in the original octet) alternated with altoist Bobby Militello.

There is no shortage of Dave Brubeck records currently available, practically everything he cut for Fantasy, Columbia, Concord, and Telarc are easy to locate. Brubeck, whose compositions "In Your Own Sweet Way," "The Duke," and "Blue Rondo a la Turk" have become standards, remains very busy to the current day.

Tuesday, September 8, 2009

Jazz for Curious Listeners
Cecil Taylor
7:00 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Jazz on Film
Soon after he first emerged in the mid-'50s, pianist Cecil Taylor may have been the most unique improviser in jazz; five decades later he is still the most radical. Although in his early days he used some standards as vehicles for improvisation, since the early '60s Taylor has stuck exclusively to originals. To simplify describing his style, one could say that Taylor's intense atonal percussive approach involves playing the piano as if it were a set of drums. He generally emphasizes dense clusters of sound played with remarkable technique and endurance, often during marathon performances. Suffice it to say that Cecil Taylor's music is not for everyone.

Taylor started piano lessons from the age of six, and attended the New York College of Music and the New England Conservatory. Taylor's early influences included Duke Ellington and Dave Brubeck, but from the start he sounded original. Early gigs included work with groups led by Johnny Hodges and Hot Lips Page, but, after forming his quartet in the mid-'50s, Taylor was never a sideman again. The group played at the Five Spot Cafe in 1956 for six weeks and performed at the 1957 Newport Jazz Festival (which was recorded by Verve), but, despite occasional records, work was scarce. In 1960, Taylor recorded extensively for Candid and the following year he sometimes substituted in the play The Connection. By 1962, Taylor's quartet featured his longtime associate Mimmy Lyons on alto and drummer Sunny Murray. He spent six months in Europe (Albert Ayler worked with Taylor's group for a time although no recordings resulted) but upon his return to the U.S., Taylor did not work again for almost a year. Even with the rise of free jazz, his music was considered too advanced. In 1964, Taylor was one of the founders of the Jazz Composer's Guild and, in 1968, he was featured on a record by the Jazz Composer's Orchestra. In the mid-'60s Taylor recorded two very advanced sets for Blue Note, but it was generally a lean decade.

Things greatly improved starting in the 1970s. Taylor taught for a time at the University of Wisconsin in Madison, Antioch College, and Glassboro State College, he recorded more frequently with his Unit, and European tours became common. After being awarded a Guggenheim Fellowship in 1973, the pianist's financial difficulties were eased a bit; he even performed at the White House (during Jimmy Carter's administration) in 1979. A piano duet concert with Mary Lou Williams didn't go too well but a collaboration with drummer Max Roach was quite successful. Taylor started incorporating some of his eccentric poetry into his performances and, unlike most musicians, he has not mellowed with age. The death of Jimmy Lyons in 1986 was a major blow, but Cecil Taylor has remained quite active up until the present day, never compromising his musical vision. His music remains as challenging and wondrous as ever.

Thursday, Sept. 10, 2009


Harlem Speaks
Clem DeRosa, Drummer/Educator
6:30 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

His career as a professional musician, educator, arranger, composer and orchestra leader spans 50 years. At the age of 15 Clem DeRosa's natural ability allowed him to perform with the best musicians in the New York metropolitan area. At age 18 his career was interrupted by World War II when he entered military service.

During his military career, Clem served with one of Glenn Miller's Air Corps Bands. After his discharge, he resumed his career as a professional drummer. Through the years he has recorded and/or performed with Charlie Mingus, Marian McPartland, Teo Macero, Teddy Wilson, Thad Jones, Ben Webster, Clark Terry, Phil Woods, Coleman Hawkins, John LaPorta, Kenyon Hopkins, Bobby Hackett and more.

Clem had a strong desire to increase his musical knowledge, so he enrolled at The Juilliard School to study composition and conducting. He later transferred to the Manhattan School of Music, where he received his Master's degree.

During the next era of his life, Clem became deeply involved in music education as one of the leading pioneers of jazz education. Highlights of his achievements in education include co-founding and serving as president of the International Association of Jazz Educators (IAJE), teaching at Columbia University's Teachers College, performances with his student jazz ensembles on the Johnny Carson and Merv Griffin TV shows, receiving an honorary doctorate from Five Towns College, and being named to the IAJE Hall of Fame in 1990.

Throughout his years in music education he maintained his professional performing, arranging and conducting activities for many prominent artists. Eventually he became the respected leader of the Glenn Miller Orchestra (received gold record from GRP for assistance in production of "In The Digital Mood"), the Jimmy Dorsey Orchestra, and the Dorsey Brothers Orchestra. Today Clem is one of America's leading conductors and producers of corporate events.

Friday, Sept. 11, 2009

Harlem in the Himalayas
Fred Hersch, Pianist
7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door |
Box Office: 212-620-5000 ext. 344

Pianist and composer Fred Hersch has been called "one of the small handful of brilliant musicians of his generation" by Downbeat and has earned a place among the foremost jazz artists in the world today. From the late 70's onward as a sideman to jazz legends including Joe Henderson, Art Farmer and Stan Getz, he has solidified a reputation as a versatile master of jazz piano, as well as a relentlessly probing composer and conceptualist. He is widely recognized for his ability to steadfastly create a unique body of original works while reinventing the standard jazz repertoire – investing time-tested classics with keen insight, fresh ideas and extraordinary technique. Whether unaccompanied, in duo, working with trios and quintets, Hersch has explored the jazz tradition to its fullest even as he opens new and undiscovered doors. Hersch's numerous accomplishments include a 2003 Guggenheim Memorial Fellowship for composition, two Grammy® nominations for Best Jazz Instrumental Performance and a Grammy® nomination for Best Instrumental Composition. He has appeared on over one hundred recordings, including more than two-dozen albums as bandleader/solo pianist.

His career as a performer has been greatly enhanced by his composing activities, a vital part of nearly all of his live concerts and recordings. In 2003, Hersch created Leaves of Grass (Palmetto Records), a large-scale setting of Walt Whitman's poetry for two voices (Kurt Elling and Kate McGarry) and an instrumental octet; the work was presented in March 2005 in a sold-out performance at Zankel Hall at Carnegie Hall as part of a six-city US tour. Hersch has toured with concert pianist Christopher and he has also collaborated with artists ranging from Bill Frisell, Toots Thielemans and Charlie Haden to singers Renée Fleming, Norma Winstone and Audra McDonald. He has received commissions from The Gilmore Keyboard Festival, The Doris Duke Foundation, the Miller Theatre at Columbia University, The Gramercy Trio and The Brooklyn Youth Chorus. Naxos Records has released Fred Hersch: Concert Music 2001-2006, a disc of his through-composed "classical" works.

Hersch is considered to be one of the most prolific and widely-praised solo jazz pianists of his generation. In 2006, Palmetto Records released the solo disc Fred Hersch in Amsterdam: Live at the Bimhuis; its release led to Hersch becoming the first pianist in the 70-year history of New York's legendary Village Vanguard to play an entire week as a solo pianist shortly after the disc's release. In addition, he leads a trio, a quintet and has ongoing special collaborations with jazz and classical instrumentalists and vocalists around the world. His newest project features an unconventional line-up of piano, trumpet, voice and percussion. The Fred Hersch Pocket Orchestra: Live at Jazz Standard was released in April 2009 on Sunnyside Records.

Hersch has acted as a passionate spokesman and fund-raiser for AIDS services and education agencies since 1993. He has produced and performed on four benefit recordings and at numerous concerts for the charities Classical Action: Performing Arts Against AIDS and Broadway Cares/Equity Fights AIDS that have raised over $250,000 to date.

Hersch has been featured on CBS Sunday Morning with Dr. Billy Taylor and on a wide variety of National Public Radio programs including Fresh Air, Jazz Set, Studio 360 and Marian McPartland's Piano Jazz. Hersch has also been awarded a Rockefeller Fellowship, grants from The National Endowment for the Arts and Meet the Composer, and six composition residencies at The MacDowell Colony. He conducted a Professional Training Workshop for Young Musicians at The Weill Institute at Carnegie Hall in 2008 and was awarded the Branigan Lectureship at Indiana University in 2004. A committed educator, Hersch has taught at The New School and Manhattan School of Music; he is currently a visiting professor at Western Michigan University and is on the Jazz Studies faculty of The New England Conservatory.

Monday, Sept. 14, 2009

Jazz for Curious Readers
Ted Panken
7:00 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Ted Panken writes feature articles, reviews, and commentary for various print and online music publications, including Downbeat, Jazziz, and www.jazz.com, and won the 2007 ASCAP Deems Taylor Award for his Downbeat article “Smalls Universe.” He has annotated some 400 compact disk releases, and his work has also appeared in the New York Daily News, the Village Voice, and Tikkun. Between 1985 and 2008, Panken presented jazz and other jazz-related forms of improvised music on New York’s WKCR-FM, where he conducted hundreds of live, in-depth interviews with both established and [then] up-and-coming musicians.

His work at WKCR was integral to his becoming a writer. Musicians he met at the station, for instance Joe Lovano and James Williams, asked him to write liner notes for their recordings. As Panken put it, "word got around," and his career as a writer took off. In addition to the publications mentioned above, he has written program notes for concerts at Jazz at Lincoln Center for many years.

A life-long New Yorker, who spent much of the ‘70s in Chicago, he now lives in Brooklyn with his wife, daughter, dog, and cat.

Tuesday, Sept. 15, 2009

Jazz for Curious Listeners
Rahsaan Roland Kirk
7:00 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Jazz on Film
One of the most exciting saxophone soloists in jazz history, Rahsaan Roland Kirk was a post-modernist before that term even existed. Kirk played the continuum of jazz tradition as an instrument unto itself; he felt little compunction about mixing and matching elements from the music's history, and his concoctions usually seemed natural, if not inevitable. When discussing Kirk, a great deal of attention is always paid to his eccentricities -- playing several horns at once, making his own instruments, clowning on stage. However, Kirk was an immensely creative artist; he covered every aspect of jazz, from Dixieland to free -- and perhaps no other jazz musician has ever been more spontaneously inventive. His skills in constructing a solo are of particular note. Kirk had the ability to pace, shape, and elevate his improvisations to an extraordinary degree. During any given Kirk solo, just at the point in the course of his performance when it appeared he could not raise the intensity level any higher, he always seemed able to turn it up yet another notch.

Kirk was born with sight, but became blind at the age of two. He started playing the bugle and trumpet, then learned the clarinet and C-melody sax. Kirk began playing tenor sax professionally in R&B bands at the age of 15. While a teenager, he discovered the "manzello" and "stritch" -- the former, a modified version of the saxello, which was itself a slightly curved variant of the B flat soprano sax; the latter, a modified straight E flat alto. To these and other instruments, Kirk began making his own improvements. He reshaped all three of his saxes so that they could be played simultaneously; he'd play tenor with his left hand, finger the manzello with his right, and sound a drone on the stritch, for instance. Kirk's self-invented technique was in evidence from his first recording, a 1956 R&B record called Triple Threat. By 1960 he had begun to incorporate a siren whistle into his solos, and by '63 he had mastered circular breathing, a technique that enabled him to play without pause for breath.

In his early 20s, Kirk worked in Louisville before moving to Chicago in 1960. That year he made his second album, Introducing Roland Kirk, which featured saxophonist/trumpeter Ira Sullivan. In 1961, Kirk toured Germany and spent three months with Charles Mingus. From that point onward, Kirk mostly led his own group, the Vibration Society, recording prolifically with a range of sidemen. In the early '70s, Kirk became something of an activist; he led the "Jazz and People's Movement," a group devoted to opening up new opportunities for jazz musicians. The group adopted the tactic of interrupting tapings and broadcasts of television and radio programs in protest of the small number of African-American musicians employed by the networks and recording studios. In the course of his career, Kirk brought many hitherto unused instruments to jazz. In addition to the saxes, Kirk played the nose whistle, the piccolo, and the harmonica; instruments of his own design included the "trumpophone" (a trumpet with a soprano sax mouthpiece), and the "slidesophone" (a small trombone or slide trumpet, also with a sax mouthpiece). Kirk suffered a paralyzing stroke in 1975, losing movement on one side of his body, but his homemade saxophone technique allowed him to continue to play; beginning in 1976 and lasting until his death a year later, Kirk played one-handed.

Thursday, Sept. 24, 2009

Harlem Speaks
Jason Moran, Pianist
6:30 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Jason Moran made his professional recording debut on Greg Osby’s 1997 Blue Note CD, Further Ado, which brought him to the attention of Blue Note executives who signed the pianist to his own record deal shortly thereafter. The association with Blue Note is fitting, placing Moran in the lineage of innovative pianist/composers whose career beginnings were nurtured by the veteran jazz label, musicians such as Monk, Herbie Hancock and Herbie Nichols.

Moran’s debut recording as a leader, Soundtrack to Human Motion, which found him in the company of Osby, Eric Harland, vibraphonist Stefon Harris and bassist Lonnie Plaxico, was released in 1999 to great critical praise (Ben Ratliff of The New York Times named it the best album of the year). The following year’s Facing Left found Moran stripping down to a trio with bassist Tarus Mateen and drummer Nasheet Waits, and prompted JazzTimes to declare the album "an instant classic." Moran augmented the trio for his third Blue Note release, Black Stars, adding avant-garde icon Sam Rivers, who plays saxophone, flute and piano on the recording. Gary Giddins of the Village Voice exclaimed "Black Stars is possibly a Blue Note benchmark, definitely one of the year’s outstanding discs."

Moran has performed as a sideman with such artists as Cassandra Wilson, Joe Lovano, Don Byron, Steve Coleman, Lee Konitz, Von Freeman, Ravi Coltrane, and Stefon Harris. He was the youngest honoree of the New Work Commission by the San Francisco Jazz Festival. He was also awarded a grant from Chamber Music America’s "New Works: Creation and Presentation" program, which is funded by the Doris Duke Charitable Foundation. For these two grants Moran used sampled conversations as vocal triggers. These compositions would be the foundation for many of Moran’s new compositions. Jazziz magazine wrote “Moran is blessed with the courage of his own convictions—part scavenger and part seer, fluent in the cut/paste/splice devices of hip hop production....”

In 2002, Moran released his universally acclaimed solo piano disc Modernistic. The Cork Jazz Festival awarded Moran the 2002 Guiness Rising Star Award. 2003’s The Bandwagon, culled from the trio’s six-day stint at New York’s Village Vanguard, earned the team of Moran-Mateen-Waits a title as "the best new rhythm section in jazz" (The New York Times) and caused Rolling Stone to proclaim Moran "the most provocative thinker in current jazz."

Moran's sixth release on Blue Note, Same Mother, was released in February '05. This blues based recording adds guitarist, Marvin Sewell, to the Bandwagon. Same Mother is "a reconsideration of the blues that doesn't depend on clichéd dynamics and song structure' (The New York Times).

He has composed and performed extended works commissioned by New York City's Jazz at Lincoln Center, the Walker Art Center in Minneapolis, Dia: Beacon in Beacon, New York. Duke University, Town Hall and Harlem Stages presented an ambitious multimedia work by Moran based on Thelonious Monk's historic 1959 concert at Town Hall in New York City, and rehearsal tapes and photographs taken that year by W. Eugene Smith.

Friday, Sept. 25, 2009

Harlem in the Himalayas
David Binney Quartet
7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door |
Box Office: 212-620-5000 ext. 344

Saxophonist/composer David Binney was born in Miami, Florida and raised in Southern California. His parents were jazz fans, and introduced Binney to jazz greats such as John Coltrane, Miles Davis, Bobby Hutcherson, and Wayne Shorter. Binney's parents also exposed him to the music of Jimi Hendrix, Milton Nascimento, Sly Stone and a variety of other styles of music that helped foster an interest in a broad spectrum of music. He began to study the saxophone with various teachers in Los Angeles. At the age of 19 he moved to New York City, where he studied with Phil Woods, Dave Liebman, and George Coleman. In 1989, Binney was awarded an NEA Grant which he used to record his first album, Point Game on Owl Records.

Binney has performed in basement clubs in New York to jazz festivals in Europe, appeared on stage with Aretha Franklin at Carnegie Hall, and with Maceo Parker. He has produced all of his own albums, in addition to two of the Lost Tribe releases. Binney is a founding member of Lost Tribe and Lan Xang, and has recorded as a sideman for Uri Caine's Mahler Project, Drew Gress' Jagged Sky and Medeski, Martin and Wood. David started his record label, Mythology Records, in 1998.

David Binney performs regularly at the 55 Bar in New York City.

Saturday, Sept. 26, 2009

Saturday Panels
Latin Music U.S.A.
11:00am – 4:00pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Musician and historian Bobby Sanabria hosts a screening of portions of the new PBS documentary along with the film’s producer Pamela Aguilar and director Dan McCabe as discussion guests.
Four Part Documentary Series Premieres on PBS Over Two Evenings October 12 and 19, 2009
Latin Music USA is a film about American music. Fusions of Latin sounds with jazz, rock, country, rhythm and blues — music with deeper roots and broader reach than most people realize. It's a fresh take on our musical history, reaching across five decades and across musical genres to portray the rich mix of sounds created by Latinos and embraced by all.
The four-hour documentary series premieres on October 12th (Episodes 1&2) and October 19th (Episodes 3&4) 2009, on PBS stations nationwide and on PBS.org/latinmusicusa. Produced by a team led by WGBH, in co-production with the BBC, Latin Music USA invites the audience into the vibrant musical conversation between Latinos and non-Latinos that has helped shape the history of popular music in the United States. Fittingly, the series launches in Hispanic Heritage Month, a time to recognize the contributions of Latinos to the United States and to celebrate Latino heritage and culture.

The series features the stories of an extraordinary range of artists, including salsa greats Willie Colón and Marc Anthony; the Latin-inflected sounds found in much of sixties rock and roll, from the Drifters to Motown to the Rolling Stones; jazz fused with Cuban rhythms from Mario Bauzá and Chano Pozo; the genius of Texas accordion player Flaco Jiménez; Carlos Santana; Linda Ronstadt; the legendary Chicano rock band Los Lobos; megastars Gloria and Emilio Estefan; Ricky Martin and Juanes; Miami rapper Pitbull; reggaetón performers Daddy Yankee and Tego Calderón; and Lin-Manuel Miranda from the Tony Award-winning musical In the Heights. The life experiences of these and many other unforgettable artists will reveal how Latinos have reinvented their music in the United States, while never losing sight of their own rich traditions.  

Tuesday, September 29, 2009

Jazz for Curious Listeners

Art Tatum / Django Reinhardt
7:00 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Jazz on Film
 
Art Tatum has been a focus of several jazz museum events over the past several years, most recently a Saturday panel that also featured Ben Webster. Now he's paired with another pioneer who became known to jazz fans and writers in the 1930s, guitarist Django Reinhardt. Seeing each on film will bring their artistry to life!
Django Reinhardt

Reinhardt was the son of a traveling entertainer and the brother of Joseph Reinhardt. He grew up in a gypsy settlement outside Paris. Reinhardt first played violin and later took up guitar, and began working professionally in 1922 with the accordionist Guerino. In 1928, he was badly burned in a caravan fire, which resulted in the mutilation of his left hand. This deprived him of the use of two fingers and led him to devise a unique fingering method to overcome his handicap.

After a period of convalescence, he worked in cafés in Paris and in a duo with the singer Jean Sablon. In 1934, he was a founding member, with Stephane Grappelli, of the ensemble that became known as the Quintette du Hot Club de France. In the years before World War II the group gained considerable renown through its numerous recordings, and Reinhardt became an international celebrity. He appeared throughout Europe and recorded with many important American musicians who visited the Continent. During the war, while Grappelli lived in Britain, Reinhardt remained in France. He led a big band, then achieved considerable success as the leader of a new quintet in which the clarinetist Hubert Rostaing took Grappelli's place. He also became interested in composition and, with Andre Hodeir, arranged the music for the film Le Village de la Colere (1946). In 1946, he visited England and Switzerland, toured the USA as a soloist with Duke Ellington's band (playing an amplified guitar for the first time), and worked in New York.

After his return to France, he lived in Samois and toured and recorded with his quintet, which sometimes included Grappelli again. Reinhardt's grasp of harmony, remarkable technique, and trenchant rhythmic sense made him an excellent accompanist. His incisive support is heard to advantage on Stardust (1935), recorded with Coleman Hawkins. He later developed into a soloist of unique character, creating a deeply personal style out of his own cultural patrimony. By 1937, when he recorded Chicago with the Quintette, he was established as the first outstanding European jazz musician, a stylist with great melodic resourcefulness and a mastery of inflection. He was a gifted composer of short evocative pieces and had a flair for pacing a performance so the maximum variety could be wrung from it without compromising its homogeneity; an excellent example of this is St. Louis Blues (1937).

Endowed with remarkable sensitivity, he could work with visiting American performers without forsaking his own essentially romantic style. In the 1940s, he switched to the electric guitar. However, this did not coarsen his playing since he used its power with discretion. The rhythmic content of his work became more varied, as in Minor Swing (1947), and his improvised lines more flexible. The asymmetrical, occasionally violent playing heard in some later performances shows the continual widening of his expressive scope. A documentary film, Django Reinhardt (1958), was made after his death by the director Paul Paviot. It includes an introduction by Jean Cocteau and features music performed by Grappelli, Rostaing, and Joseph Reinhardt.

Django's two sons, Lousson and Babik, were both fine guitarists, and after their father's death, Babik established a reputation in his own right.

Art Tatum

Art Tatum is one of the greatest pianists to ever play the instrument. Despite seriously impaired vision (he was blind in one eye and had only partial sight in the other), Tatum received some formal piano training as a teenager at the Toledo School of Music and learned to read sheet music with the aid of glasses and by the Braille method. Other than that, he was self-taught, learning from piano rolls, phonograph recordings, radio broadcasts, and various musicians whom he encountered as a young man in the area around Toledo and Cleveland. Tatum acknowledged Fats Waller as his primary inspiration, with the popular radio pianist Lee Sims, whose interpretations contained many interesting harmonies, as an important secondary influence.

Tatum was playing professionally in Toledo by 1926 and performed on radio in 1929-30. In 1932, he traveled to New York as the accompanist for Adelaide Hall. There, in March 1933, he made his first solo recordings, for Brunswick. After leaving Hall, he worked in Cleveland from 1934-5 and led a group in Chicago from 1935-6. His reputation as an outstanding jazz pianist was consolidated in 1937 with his performances in various New York clubs and on radio shows. He toured England the following year and appeared regularly in New York and Los Angeles in the late 1930s and early 1940s. Taking Nat "King" Cole's successful jazz trio as a model, Tatum founded his own influential trio with Slam Stewart (double bass) and Tiny Grimes (electric guitar) in 1943. Grimes left the following year, but Tatum continually returned to this format, playing with Everett Barksdale in particular.

In 1944, Tatum played in a jazz concert at the Metropolitan Opera House, and in 1947 he made a cameo appearance in the film The Fabulous Dorseys. Although he was regularly active in nightclubs, radio shows, recording studios, and was lionized by jazz musicians and critics, he did not acquire a large popular following during this period and was bypassed in jazz popularity polls. In 1953, he began an association with the record producer Norman Granz that led to a number of outstanding small-group recordings with such mainstream musicians as Benny Carter, Roy Eldridge, and Ben Webster. More importantly, he was recorded in a long series of solo performances, which indicated both the extent of his repertory and his extraordinary imagination. Tatum remained active and constantly improving his art until shortly before his death.

Rock In Peace For Les Paul

Legendary recording artist, studio pioneer, and virtuoso guitarist Les Paul passed away at the age of 94 on August 13, 2009, due to complications from pneumonia. Despite having earned more than 30 gold records during his career, Paul is most famous for inventing the multi-track recorder and overdubbing his guitar playing. In addition, he nearly single-handedly popularized and revolutionized the solid-body guitar by experimenting with feedback, distortion, and note-holding. The electric guitar's ubiquitous role in rock and roll is largely due to Paul's contributions even though country, pop, jazz, and swing remained the innovator's music of choice. However, his name remains synonymous with the Gibson guitar named after him; more than 50 years after its introduction, it remains the model most commonly associated with rock--and musicians such as Slash, Eric Clapton, Pete Townsend, and Jimmy Page. The Wisconsin native's hits include "Wither Thou Goest," "How High the Moon," and "Vaya Con Dios." A multiple Grammy winner, Paul is also a Rock and Roll Hall of Fame member, National Inventors Hall of Fame inductee, and National Medal of Arts recipient.

LesPaulA private Funeral service will be held in New York. A service in Waukesha, WI will be announced at a later date. Details will follow and will be announced for all services. Memorial tributes for the public will be announced at a future date.  The family asks that in lieu of flowers, donations be made to the Les Paul Foundation, 236 West 30th Street, 7th Floor, New York, New York 10001.

For the past twelve years Les Paul appeared every Monday night at the Iridium Jazz Club despite advancing age and sever arthritis each week he delivered a first class show packed with his trademark guitar licks, hit songs and his patented ribald good humor.  An amazing run for any artist, but for Les this is what he lived for.  He was from the old school of the ‘show must go on’ so in that spirit the Iridium Jazz Club will continue to celebrate the man, his music and his legacy.

Iridium Jazz Club Honors Les Paul
Monday, August 17, 2009
8 & 10PM

Featuring:  BUCKY PIZZARELLI WITH THE LES PAUL & HIS TRIO - JOHN COLIANNI – PIANO - LOU PALLO – GUITAR, NICKI PARROTT - BASS - Plus Surprise Guests

IRIDIUM JAZZ CLUB
1650 BROADWAY (CORNER OF 51ST)
NEW YORK, NY 10023
RESERVATIONS: 212-582-2121
HTTP://WWW.IRIDIUMJAZZCLUB.COM/
Sets at 8:00 & 10:00PM

Devil Makes Three front man Pete Bernhard books solo gigs

After opening for Sea Sick Steve in NYC last week, Pete’s solo performances are a far bit different from his primary band but one key element remains the same - his defining vocal style, unique phrasing and his distinctive point of view.
 


devil-makes-threeAll the while, The Devil Makes Three "Do Wrong Right" continues to gain momentum.   After selling out shows all across the country via word of mouth from fans and friends, Do Wrong Right garners its 16th straight week on in the Top 10 of the Billboard Bluegrass Charts and the album continues to sell strongly each week.  The album holds steadily in heavy rotation on the college charts along with charting on the Americana/Jamband Chart.

Check out The Devil Makes Three LIVE on KEXP Performing "Do Wrong Right."  The Devil Makes Three Live @ KEXP was released digitally on 8.11. The EP includes four tracks played live in the studio of the famous Seattle based radio station and an interview.

The Devil Makes Three kicks off their Fall tour with gigs at Bumbershoot and Earthdance Peace Festival.

The Devil Makes Three quite possibly are the best band that you have never heard of. Constantly on tour, selling out dates across the country and in their neck of the woods on the West Coast, this band is busy packing their shows night after night, largely thanks to word of mouth.

Over the past 7 years, The Devil Makes Three have garnered fans the old school way - playing a city, making friends, conquering fans and moving on. When they hit the next town, venues are packed with folks that heard from a friend in a city that the band had played before.

Because of this, The Devil Makes Three have established thousands of die-hard and devout fans.

 


 
PETE BERNHARD SOLO DATES
September 15- Blue Lamp- Sacramento, CA
September 16- Rickshaw Shop, San Francisco, CA
September 17- The Crepe Place- Santa Cruz, CA
September 18- Café Coda, Chico, CA
September 19th- Stillwater, Ashland, OR


 
DEVIL MAKES THREE TOUR DATES!
September 5 - Truckee River Park Amphitheater - Truckee, CA
Sept 7th - Bumbershoot Festival - Seattle, WA
Sept 27 - Earthdance Peace Festival - Black Oak Ranch - Laytonville, CA
Oct 14 - Brick By Brick - San Diego, CA
Oct 15 - Echoplex - Los Angeles, CA
Oct 16 - Downtown Brewing Company - San Luis Opisbo, CA
Oct 17 - The Catalyst - Santa Cruz, CA
Oct 18 - The Phoenix Theater - Petaluma, CA
Oct 21 - The Historic Ashland Armory - Ashland, OR
Oct 22 - WOW Hall - Eugene, OR
Oct 23 - Wonder Ballroom - Portland, OR
Oct 24 - El Corazon - Seattle, WA
Nov 7 - Middle East Upstairs - Cambridge, MA

Elizabeth & The Catapult Brings You "Christmas With The Jews"

In less than two years since their move to New York, Elizabeth and the Catapult has already racked up an impressive list of accomplishments. In May and August of 2006 they were featured in WNYC's "Soundcheck" as well as PRI's "Fair Game with Faith Salie" At the end of the year they were dubbed by NPR as "One of the Best Discoveries of 2006."  The Catapult have had residencies at clubs such as the Living Room and Rockwood Music Hall, and after opening for national headliners like Jessie Harris, Kirk Kirkwood (of the Meat Puppets fame), The Wood Brothers (of Medeski, Martin, and Wood), and Amanda Palmer (of The Dresden Dolls) there was enough buzz about them to support a tour and label interest on the West Coast. All of this success also earned them a place as the Billboard Underground Artist for last October.

Bound by a common love of eclectic influences, Elizabeth & the Catapult draws inspiration from artists such as Tom Waits, David Byrne, Joni Mitchell, and Jon Brion—as well as classical influences such as Debussy, Ravel and Chopin. One explanation for the band's musical diversity is Elizabeth Ziman's musical background. She was trained as a classical pianist until the age of sixteen. "As a kid, I used to practice all the time…" Elizabeth explains. "But one day I realized that I couldn't lock myself in a room for eight hours a day…that's when I started writing and singing." After that, it quickly became apparent that her vocal abilities rivaled her piano skills. In 2002, Elizabeth successfully auditioned to be a background vocalist for soul-queen Patti Austin and ended up joining her on tour for the next year and a half. Elizabeth's experience along with Pete and Danny's folk/rock sensibility piece together to make up the band's harmonically distinctive pop sound, a sound well reflected in their stylistically diverse new EP.

After a listen to the Elizabeth & the Catapult EP, it is immediately clear that a great deal of thought went into each of the songs' arrangements. Strings, Horns, Marimba and Synthesizers are all blended together, creating an organic, off-beat style that fans have often referred to as "baroque pop." The sound of the EP is also shaped by the guerilla-style fashion in which it was recorded. Drummer Danny Molad recorded most of the EP in basements and bathrooms, producing this album, along with Elizabeth, in an incredibly modest home studio. With these limited resources, Elizabeth & the Catapult managed to produce an expertly mixed album. Every note of the EP sounds deliberately placed while there still manages to be an air of effortlessness that penetrates throughout all the songs.

In their recordings as well as live performances, Elizabeth and her band members bring together all their backgrounds and experiences to make music that they themselves enjoy. They acknowledge their amorphous style and readily admit that it probably scares record labels. Even so, Elizabeth asserts that she is "not interested in assigning herself a specific style." Elizabeth & the Catapult are proud of their ever-changing sound and are committed to keeping their music fresh and creative.

Upcoming Tour Dates:

Dec 27 Washington DC at DC9
Dec 29 Easton MD at Coffee East
Jan 22 Hoboken NJ at Maxwells

Beat Kaestli w/ The Bart Weisman Trio @ The Provincetown JazzFestival

featuring:

beatBeat Kaestli - voice
Fred Boyle- piano
Laird Boles - bass
Bart Weisman - drums

---
New Pictures:
Zinc Bar
with special guest Jon Hendricks
http://www.myspace.com/beatkaestli

---
New Music:
http://www.myspace.com/beatkaestli
http://www.beatkaestli.com
CD sales: http://www.cdbaby.com/beatkaestli2

---

Upcoming Performances:
August 1st - Swiss National Celebration, NYC
August 14th - Provincetown Jazz Festival, MA
Oct 5th - Zinc Bar (tbc)
Oct 16th - SOS Kinderdorf, Bern Switzerland http://www.sos-kinderdorf.ch/Ueber-uns/60-Jahre-SOS-Kinderdorf/Benefiz-Gala/Pages/default.aspx
Oct 21st - Ludwigs w/ Jan Eschke (tbc)
Oct 22nd - Cafe Lido w/ Walter Lang
Oct 30th - RRB Radio Sendehalle w/ Alexa Rodrian and Tino Derado, Berlin
Nov 14th - Chorus, Lausanne Switzerland

Nov 19th - Swiss Embassy, Washington D.C.

Nov 20th - Acton Jazz Cafe, Acton MA
Dec 13th - BLUE NOTE, NYC
Feb 26th - BAM Cafe, Brooklyn, NYC
March 18th - Visp Jazz Chaelli w/ Eliane, CH (tbc)
March 20th - Thalwil w/ Eliane, CH
April 8th - Brooklyn Library, NYC

Upcoming Boulder Theater Shows

Here's what we've got coming up at Boulder Theater as of August 10.  All shows are ON SALE NOW unless otherwise noted.
                                               
Tues, Aug 11                 Live Nation presents
8:00pm                       An Evening with            
                                    PETER FRAMPTON
                                    GA / 21+ / $56.00

Wed, Aug 12                  97.3 KBCO presents
7:00pm                       E-TOWN
                                    w/ Bruce Hornsby & Dave Alvin & the Guilty Women
                                    & Louie Psihoyos
                                    GA / All Ages / $20.75

Sat, Aug 15                 Urban Allyance presents
8:30pm                      SOUNDQUAKE ft. HEAVYWEIGHT DUB CHAMPION
                                   w/ FreQ Nasty, Propa tingz aka Breakbeat Buddha & Jahtsen
                                   GA / 18+ / Advance=$24.00, DOS=$30.00

Wed, Aug 19                 Boulder Weekly Films, Radio 1190 & Twisted Pine present
8:00pm                      Beat the Heat Film Series
                                   "THE BIG LEBOWSKI"
                                   GA / All Ages Balcony / $5.00
                               
Thur, Aug 20                 KUVO presents
8:00pm                       LARRY CARLTON
                                    Reserved=$34.00, GA seated=$28.00 / 21+
                               
Fri, Aug 21                  Boulder Weekly presents
9:00pm                       THE AVETT BROTHERS
                                    w/ Sallie Ford & the Sound Outside
                                     GA / 18+ / $29.50

Sat, Aug 22                   Colorado Daily & Radio 1190 present
9:00pm                        MOS DEF
                                     w/ Jay Electronica
                                     GA / All Ages / $39.50

Fri, Aug 28                   Radio 1190 &  denver.avclub.com present
9:00pm                        DELTA SPIRIT
                                     w/ Nathaniel Rateliffe +The Wheel
                                     GA / 18+ / $19.50

Sat, Aug 29                  Soda Jerk presents
9:00pm                       JEDI MIND TRICKS
                                    w/ MC Esoteric, Reef the Lost Cauze, Bound by Honor
                                    GA / All Ages / $20.00

Sat, Sept 5                  QUEMANDO
9:00pm                       GA / 21+ / $14.00
                               
Wed, Sept 9                  KGNU presents
8:00pm                       THE BAD PLUS & MARCO BENEVENTO TRIO
                                    Reserved=$28.00, GA=$23.50 / 21+

Thur, Sept 10                 Windstopper & The North Face present
7:00pm                                REEL ROCK FILM TOUR
                                     GA / All Ages / Advance=$15.00, DOS=$17.00
                                                               
Fri, Sept 11                  97.3 KBCO presents
8:30pm                        PSYCHEDELIC FURS & HAPPY MONDAYS
                                     GA / 21+ / $32.00
                                                               
Sat, Sept 12                  denver.avclub.com presents
9:00pm                        PAUL F. TOMPKINS (VH1's Best Week Ever Host) & KRISTEN SCHAAL (Flight of the Conchords)
                                     Reserved=$32.00, GA seated=$25.00 / All Ages

Mon, Sept 14                  OLIVIA ROX!
6:30pm                        The Movie Premiere presented by Songbird Entertainment
                                     GA / Adults=$21.50, 12 & Under=$12.00

Thur, Sept 17                 KGNU presents
8:00pm                        MIKE MARSHALL & DAROL ANGER
                                     w/ Vasen
                                     Reserved=$28.00, GA Seated=$22.00 / 21+

Fri, Sept 18                 BOULDER BEER'S 30TH ANNIVERSARY THROWDOWN
8:00pm                       ft. Great American Taxi & Oakhurst
                                    GA / 21+ / $18.00

Sat, Sept 19                 Helly Hansen presents
7:00 & 9:30pm                MSP'S "IN DEEP: the sking experience"
                                    GA / 7pm=All Ages, 9:30pm=21+ / $18.00

Thurs, Sept 24                THE AIRBORNE TOXIC EVENT
9:00pm                        w/ Henry Clay People & Red Cortez
                                     GA / All Ages / $24.00

Thur, Oct 1                   Boulder Weekly presents
9:00pm                        GROUNDATION
                                     w/ guests
                                     GA / 18+ / Advance=$22.00, DOS=$24.00

Sat, Oct 3                    Live Nation presents
8:00pm                        PATTON OSWALT
                                     GA / All Ages / Advance=$34.00, DOS=$37.50
                               
Sat, Oct 10                  97.3 KBCO presents
8:30pm                        BODEANS
                                     w/ guests
                                     GA / 21+ / $34.00
                               
Tues, Oct 13                  KUVO presents
7:30pm                        PACO PENA
                                     Reserved=$40.00, GA seated=$32.00 / 21+

Wed, Oct 14                   AIMEE MANN
8:00pm                        w/ guests
                                     Reserved Balcony=$34.50, GA= $29.50 / 21+
                                     On Sale August 22

Thur, Oct 15                  DANCING WITH BOULDER STARS
7:30pm                        Reserved=$50.00, GA=$36.00 / All Ages
                               
Sat, Oct 17                   EMMITT NERSHI BAND & ASSEMBLY OF DUST
9:00pm                        GA / 21+ / $21.50

Fri, Oct 23                           THE SUBDUDES
8:00pm                        w/ Vienna Teng
                                     GA / 21+ / $27.50
                                     On Sale August 14
                               
Fri, Oct 29                           Channel 93.3's Throwback Lunch & Westword present
9:00pm                        DINOSAUR, JR.
                                     w/ lou barlow + the missingmen
                                     GA / 18+ Balcony / $29.50

Oct 30 & 31                   Westword & 97.3 KBCO present
9:00pm                        DEVOTCHKA
                                     GA / $38.50 / Oct 30=18+,  Oct 31=21+
                                                                                                                               
ALL SHOWS ARE ON SALE NOW (unless otherwise noted) AT THE BOULDER THEATER BOX OFFICE (303)786-7030, OR ONLINE AT WWW.BOULDERTHEATER.COM. Ticket prices include tax and service charge.

Zack Borer Band Chosen Again To Play Side Stage - Nikon At Jones Beach

On the heels of an incredible performance at Nikon at Jones Beach Theater’s Side Stage just two weeks ago, the zAck borer band has again been selected to perform during yet another Platinum-selling, award-winning artist’s tour on Friday August 7th.  For a complete listing of bands and headliners performing at the Jones Beach Theater on this date, visit www.livenation.com/venue/nikon-at-jones-beach-theater-tickets/

zack“I am excited that we have been chosen to perform on the same nights as such talented artists I’ve always looked up to,” said zAck borer.  “We’re more focused and determined than ever before and are looking forward to returning to Jones Beach to share the new music we’ve been working on all summer.”

zAck’s ongoing unsigned journey finds him in the running to be named the MTV Video Music Awards’ “Best Breakout Artist in NYC.” Fans are encouraged to vote for zAck’s song “That’s The Way” by August 14th at
http://www.ourstage.com/judge?channel=207-mtv-vma-best-breakout-nyc. The top 3 finalists will battle it out at a MTV2 & Time Warner Cable VMA weekend pre-party. The winning band will be revealed locally the night of the VMAs and showcased nationally on MTV2’s Rail N Rock or Sucker Free!

In addition to the Jones Beach side stage shows, fans of the band and music lovers alike can catch the zAck borer band in New York City at the following dates and locations:

* August 27, 2009 – 9PM, The Bitter End, 147 Bleecker Street, New York 10012
* September 19, 2009 – 9PM, dromNYC, 85 Avenue A, New York, 10009

"...As a 25 year old dude who mostly likes rap music I found it to be one of the most enjoyable full albums that I have heard in a while"-- Westsidewill- Wild Off The Air (July, 2009) Full album review here:
http://westsidewill.com/newblog/2009/07/23/zack-borer-home-album-review/

DeVotchKa Halloween Shows @ Boulder Theater

DeVotchKa Management announces a pair of Halloween shows at the Boulder Theatre on October 30 and 31, 2009, with a portion of the proceeds benefiting Metro Denver Promotion of Letters, a nonprofit writing-tutoring organization. The organization was inspired by the 826 centers in San Francisco and New York that were started by author Dave Eggers.

devotchka“I’ve been friends with Dave Eggers for a long time,” says Rob Thomas, manager for DeVotchKa. “This is a great, local organization carrying on the good work that he does, and we are happy to support it.”

The band is also supporting Eggers’ own 826NYC by contributing a track to Songs From The Point! This yet-to-be-released compilation features interpretations of Harry Nilsson’s cult-classic The Point! All proceeds from the album benefit 826NYC. The album is on Amano Recordings with a slated release date for October 27, 2009, and also features Andrew Bird, Nada Surf, Martha Wainwright, and The Wheel.

Inspired by multiple tours of the Spanish countryside, DeVotchKa discovered the magic of the Matador.  Like all Souls Day of the past, DeVotchKa's music will transpire you into an unworldly passionate evening of swirling sensuous rhythms, beautiful trapeze artists and ornate bulls that may run amok!

Join DeVotchKa in a toast to our Spanish ancestors on these nights when the veil between life and death is at it's thinnest....  Complete with bull motifs and intricate costumes worthy of the iconic and aristocratic imagery of the bullfighter. Joining DeVotchKa will be Quixotic Performance Fusion, the wonderful and collaborative ensemble of musicians, dancers, aerialists, composers, designers, and choreographers that joined them in February for the beautiful Valentine’s Eve show at the Paramount Theatre. This will be Quixotic first performance in Boulder.

DeVotchKa enjoyed a great summer tour with David Byrne, which included a performance at Red Rocks in June. They also played several U.S. and Canadian Festivals in July—Mile High, High Sierra, Ottawa Bluesfest, and Montreal Jazzfest. Currently, DeVotchka are in Europe for the month of August, performing at festivals in Portugal, Scotland, Belgium, London, Holland, Sweden, Denmark, and Switzerland.

Tickets for the Halloween performance go on sale Saturday, August 8, 2009, at 10am (internet), 12pm (box office/phone).  Tickets are for sale from the band website www.devotchka.net or directly from Boulder Theater website  www.bouldertheater.com.