years

BRAIDS Announce North American 2011 Winter Tour

BRAIDS was formed by four best friends in their last year of High School in Calgary, Alberta. Convincing one another to skip university, they stayed in the garage all year and practiced obsessively, even while their fingers froze during the cold prairie winters. Then, at only 18 years old, they took the bold step of moving across the country together to Montreal, where they began crafting their self recorded/self produced debut album Native Speaker.

Oscillating between density and spaciousness, BRAIDS' sound is not easy to define. The four members construct music which is ample and rolling, perhaps alluding to the landscapes of their youth, but filled with radical texture and startling immediacy, an influence of their more recent surroundings. Delicate layering gives their experimental pop epics just enough breath to playfully explore the depth of ambient melody. Though BRAIDS dives into moments of deep obscurity and sonic experimentation, there remains embedded within the music the hypnosis of an unforgettable pop tune.

Native Speaker, is the accumulation of months of meticulous craft-work to properly capture the band's entrancing live performance. The albums' songs were tested and shaped through numerous performances and lyrical massages, resulting in work that is brilliant in detail and structure. Averaging over 6 minutes and never coming in under 4, the tracks on Native Speakermaintain a deep seeded focus.

BRAIDS has an unusually collaborative dynamic, generating all of their sweeping sounds live in a synergistic maelstrom. Even their name, BRAIDS, evokes a feeling of something continuous and progressive, yet lush and intertwining. It implies the interweaving of all four members' musical ideas, favoring collective and equal input.

On January 18, 2011 BRAIDS is putting forth their debut album Native Speaker, a reflection of coming of age for the four intricately linked musicians. It captures a period of innocence and a period of change, yet comes off as strikingly mature beyond their years. Most importantly, it displays a yearning and striving to break through, an ambitious debut for a young band just getting started.

BRAIDS NORTH AMERICAN TOUR DATES

11-30 New York, NY - Knitting Factory ^
12-01 New York, NY - Bowery Ballroom ^
02-04 Dallas, TX - The Nightmare *
02-05 Austin, TX - The Mohawk *
02-07 Atlanta, GA - The Masquerade *
02-08 Tallahassee, FL - Club Downunder *
02-09 Columbia, SC - New Brookland Tavern *
02-10 Durham, NC - Duke Coffeehouse (Duke University) *
02-11 Washington, DC - Rock and Roll Hotel *
02-12 Brooklyn, NY - Knitting Factory *
02-13 Philadelphia, PA - Kung Fu Necktie *
02-16 New York, NY - Mercury Lounge *
02-17 Allston, MA - Brighton Music Hall *
02-18 Montreal, Quebec - Il Motore *
02-21 Columbus, OH - Skully's Music Diner *
02-22 Urbana, IL - The Canopy *
02-23 Iowa City, IA - Gabe's *
02-24 Minneapolis, MN - 7th Street Entry *
02-25 Madison, WI - Der Rathskellar (University of Wisconsin) *
02-26 Chicago, IL - Subterranean *
03-01 Seattle, WA - Chop Suey *
03-02 Portland, OR - Holocene *
03-04 San Francisco, CA - Rickshaw Stop *
03-05 Los Angeles, CA - Troubadour *

^ with the Radio Dept. * with Baths, Star Slinger

Phish New Years Eve Tixs up for Auction!

For the 3rd time in 2010, the Mimi Fishman Foundation and the WaterWheel Foundation have teamed together with an on-line charity auction.

The auction features many Phish items including ticket packages to both stops on its upcoming New Years tour. Signed Phish posters from 2010 Summer/Falls shows are also featured on the auction. In addition, both Yonder Mountain String Band and Umphrey’s McGee have donated New Years Ticket/Poster packages to the auction.

These would make great holiday gifts for yourself, or others!!

The on-line auction is currently live with the bidding coming to close on Wednesday, Dec 1.

To view and/or bid on the auction, as well as read about the charities the auction supports, please visit the Mimi Fishman Foundation Auction Page.

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In addition the Foundation has announced donations recently made.

$750 to Capital City Youth Services
$1,000 to Rainbows for Kids
$1,250 to Burlington's Women Helping Battered Women
$1,250 to Lake Champlain Land Trust
$1,250 to Peopleplace
$2,500 to Lincolnville Central School
$10,000 to The Delta Gamma Center for Children with Visual Impairments
$20,600 to The WaterWheel Foundation (includes donations made directly to WaterWheel from the auction winners)

To date the grand total has now surpassed $422,000  A huge thanks to everyone for their amazing support!!!

DAVID AMRAM The First 80 Years! A Musical Celebration

DAVID AMRAM: The First 80 Years Jazz, a spectacular, historic celebration of a true American original whom the Washington Post has described as “one of the most versatile and skilled musicians America has ever produced,” will be presented by Jazz Forum Arts on Thursday, November 11, 2010 at 7:30 PM at Peter Norton Symphony Space, 2537 Broadway at 95th Street, in Manhattan, it was announced by Mark Morganelli, Executive Director of the presenting organization. A portion of the proceeds will benefit Clearwater, the organization founded by Pete Seeger, as well as the Woody Guthrie Foundation

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The historic concert will feature:

· The New York premiere of Amram’s “Symphonic Variations on a Song by Woody Guthrie” performed in memory of Odetta by the 60-piece Queens College Orchestra, conducted by Maurice Peress. The work will be introduced by Nora Guthrie, who commissioned it with support from the Guthrie Foundation, based on her father’s song “This Land is Your Land.”  

·The New York premiere screening of the finale of the recent production of Amram’s 1968 comic opera “Twelfth Night” with a libretto by the late Joe Papp, which will be introduced by Bernard Gersten, Executive Producer of the Lincoln Center Theater and former co-producer with Joe Papp of the New York Shakespeare Festival.

·The first ever concert performance of excerpts from Amram’s classic film scores, “Splendor in the Grass” (1960), and “The Manchurian Candidate” (1962), performed by the Brooklyn Conservatory Jazz Ensemble, directed by Earl McIntyre, and The Jazz & Gospel Choirs, directed by Renee Manning.

· “En memoria de Chano Pozo” for Latin/jazz group and symphony orchestra, performed in memory of  Dizzy Gillespie by the Queens College Orchestra, conducted by David Amram, with guest soloists Candido (congas) and Bobby Sanabria (timbales) with Amram himself on piano, pennywhistles and percussion.  

·“One Heart, Many Voices,” performed by Amram’s Middle Eastern Trio with Avram Pengas (guitar and Bazookie) and Israeli singer/songwriter David Broza.

·Malachy McCourt will introduce Amram’s  “The Fox Hunt From Cork Meets The Blues From New York,” performed by Larry Kirwan (Black 47), John McEuen (Nitty Gritty Dirt Band), Amram’s Latin/Jazz Ensemble and dancers from the Stella Adler School of Acting.

·Actor John Ventimiglia (The Sopranos) will read excerpts from Jack Kerouac’s “On The Road” followed by performance Kerouac/Ginsburg/Cassady title song from the 1959 Best Documentary Film “Pull My Daisy.

The star-studded salute will also include filmed 80th birthday wishes from Pete Seeger, Arlo Guthrie, Willie Nelson, members of the N.Y. Philharmonic, and friends and colleagues from around the country. There will also be appearances and performances by Amram’s friends from the world of theatre, film and music, including actor Keir Dullea (2001: A Space Odyssey), Josh White Jr., Patience Higgins,  the Amram Family Band and current members and alumni of Amram's quartets from the past 40 years, as well as other surprise guests.  

The entire concert will be filmed by Lawrence Kraman for his documentary film “David Amram: The First 80 Years,” segments of which will be shown for the first time at this concert. To see links for the trailer, visit here and for the poster.

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During his illustrious career, David Amram has composed more than 100 orchestral and chamber music works; numerous scores for Broadway theater and film; two operas, and the score for the landmark 1959 documentary Pull My Daisy, narrated by novelist Jack Kerouac.  He is also the author of three books, published by Paradigm Publishers.  A pioneer player of jazz French horn, he is also a virtuoso on piano, numerous flutes and whistles, percussion, and dozens of folkloric instruments from 25 countries, in addition to being a renowned improvisational lyricist.  Amram has collaborated with Langston Hughes, Dizzy Gillespie, Dustin Hoffman, Johnny Depp, Willie Nelson, Thelonious Monk, Odetta, Elia Kazan, Arthur Miller, Charles Mingus, Lionel Hampton, Tito Puente and Leonard Bernstein, who chose him as The New York Philharmonic's first composer-in-residence in 1966.  One of Amram's most recent works, Giants of the Night, a flute concerto, was commissioned and premiered by Sir James Galway.  Today, as he has for over 50 years, Amram continues to compose music while traveling the world as a conductor, soloist, bandleader, visiting scholar, and narrator in five languages.  He celebrates his 80th birthday on November 17th.  Additional information is available at http://www.davidamram.com/

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Tickets for DAVID AMRAM: The First 80 Years are: $75, $55 and $35 (members, students, seniors: $70, $50 and $30; children: $65, $45 and $25) and can be purchased at the Symphony Space Box Office, 212.864.5400, or at http://www.symphonyspace.org.  For information about Jazz Forum Arts, call 888.99.BEBOP, or visit http://www.jazzforumarts.org/.

Danielle Ate the Sandwich | Gothic Theater

Before attending Danielle Ate the Sandwich at the Gothic Theater on October 8th I was unsure as to what kind of sandwich exactly she may have eaten. However, after speaking to Danielle before her show and watching her exuberant performance I was certain said sandwich must be chock full of wit, talent and brilliance.

THE DEFINITIVE DAVE BRUBECK

Over the course of seven decades, Dave Brubeck has become one of the most iconic and influential figures in all of jazz. In that time, the pianist/composer/bandleader continually has defied conventions and preconceptions by grafting elements of numerous styles — classical, Latin, pop and more — into a solid and unwavering jazz foundation and creating a musical hybrid that still is deeply rooted in the jazz tradition. While his 1959 opus, Time Out, is considered a landmark recording, it represents only the tip of the iceberg that is Brubeck’s massive and enduring body of recorded work.

Concord Music Group provides a sweeping look at that body of work in The Definitive Dave Brubeck on Fantasy, Concord Jazz and Telarc. The ambitious two-disc collection — the latest in CMG’s ongoing Definitive series — assembles some of Brubeck’s earliest session work from the 1940s as well as some of his more recent recordings from the past few decades. The Definitive Dave Brubeck is set for release on November 16, 2010, in celebration of the music icon’s 90th birthday on December 6.

The collection’s comprehensive liner notes — written by music journalist and historian Ashley Kahn and based on a recent interview with Russell Gloyd, Brubeck’s manager/producer/conductor of more than 30 years — carefully parse out each of the 26 tracks in the set and the relationship between the two distinct periods represented on each disc. Disc 1 chronicles the Fantasy years, from the very beginning of Fantasy Records in the 1940s to the end of 1953, when Brubeck still was learning, absorbing, experimenting and recording mostly standards and other jazz repertoire — already proving himself to be a top-tier musician and bandleader. Disc 2 follows the artist from the 1980s to the early years of the 21st century, performing many of his own compositions, still exploring and creating vibrant music.

“The link between these two discs is one of consistency,” says Gloyd, producer of The Definitive Dave Brubeck collection. “Most of the elements of Disc 2 — melodic ideas and musical innovations, the choice of songs and sidemen — can be traced back to Disc 1, especially with the early Trio recordings.”

Regardless of where one lands on the continuum of Brubeck’s career, the exploratory nature of his approach to music remains constant. “Whether it’s his earliest recordings or his more recent releases, Brubeck is consistently probing, curious and inventive,” says Nick Phillips, Concord Music Group’s Vice President of Jazz and Catalog A&R and director of Concord’s Definitive series. “He’s a rare artist who has never put up barriers between genres. Here you have someone who was studying classical music and classical composition in a conservatory setting, but ultimately decided to become a jazz artist. That, however, didn’t mean he’d put up a wall between jazz and classical, or jazz and Latin, or what have you.”

As one example, Russell Gloyd cites Brubeck’s Trio recording of “How High the Moon”:  “Note that Dave cut this right at the height of bop but took it in a completely different direction, recording counterpoint for the first time and winding up closing in the style of a Bach chorale.”  Another example, more than three decades later, is Brubeck’s recording of “Take Five” live in the Soviet Union, in which he quotes the theme from the first movement of Shostakovich’s Fifth Symphony in his piano improvisation.

The juxtaposition of the early and recent recordings within a single collection highlights what Kahn calls the “scripted quality” to the Dave Brubeck story, “as if some master novelist sketched out the narrative in advance. There’s hardly a wasted step or a creative dead-end in his career; early decisions and musical forays consistently predicted or prepared Brubeck for what followed . . . To recognize this aspect of Brubeck’s career is to grasp the idea that serves as the foundation for this collection: the first time the earliest echoes of his musical genius have been combined with his best recordings of recent years.”  Indeed, it makes for a most fitting celebration of the 90th anniversary of the legendary artist’s birth.

On Monday, December 6th, Turner Classic Movies (TCM) will also celebrate Brubeck’s birthday with the premiere of Dave Brubeck: In His Own Sweet Way, a new documentary executive-produced by Clint Eastwood and narrated by TCM Essentials co-host Alec Baldwin. Directed by Bruce Ricker, the film features perceptive interviews with such well known luminaries as George Lucas, Sting, Wynton Marsalis and Bill Cosby and performances by Keith Emerson, Yo-Yo Ma and David Benoit.

For all of the insight provided by The Definitive Brubeck, the story is far from over.  Unimpeded by the approach of his 90th birthday in early December, Brubeck continues to follow the narrative. “He has always been, and continues to be, a restlessly creative artist,” says Gloyd.

TRACK LIST:

Disc 1
I Found a New Baby
The Way You Look Tonight
(Back Home Again In) Indiana
Laura
Singin’ in the Rain
That Old Black Magic
Sweet Georgia Brown
Perfidia
Avalon
How High the Moon
Look for the Silver Lining
This Can’t Be Love
My Romance
Lulu’s Back in Town
Over the Rainbow
How High the Moon
All the Things You Are

Disc 2

Koto Song
Black and Blue
St. Louis Blues
Take Five
(Variations On) Brother, Can You Spare a Dime?
Here Comes McBride
Waltzing
Day After Day
Forty Days

Masters of Reality Announce US Headlining Dates

n maps, or from the air, the Mojave Desert is usually deemed brown... a blotch in the lower stomach of California that bulges against Arizona and Nevada. For fifteen years, the Mojave Desert has been the adopted home of one songwriter / performer / producer who calls himself 'one half of Masters of Reality.' Meet Chris Goss. About 2,800 miles East by Northeast; New York City. Another man sits at the head of Manhattan's media design giant Spontaneous. Director / illustrator / songwriter / drummer, and former member of New York noise and space rock bands Surgery and Dr. Mars, he is the "other" half of Masters of Reality. Meet John Leamy.

For nearly 20 years, the intermittent and somewhat reclusive collaborative musical efforts of Goss and Leamy, collectively known as the avant-renegade rockers Masters of Reality, (a relationship that began with Leamy painting the cover of their very first Masters album), have changed the face and character of rock and roll music around the world. Hence, these two ain't part time hobbyists. Goss describes himself as a "parallel aesthetician." "Art and music can be loaded with aesthetic and esoteric nano-timebombs, each level of delivery and digestion can and should be emotionally manipulated and shaped for the future... and the best part is, no one knows what we're building because it will never be finished. Look how the world of food is fusing, well, that's happening to a million things simultaneously. Our brains and nervous systems, even in our rock and roll, hopefully."

They are what's called in the 'biz' as 'musician's musicians.' Goss explains "With John and I wrapped up in so much media production in our day to day lives, when we get together to record and tour a new 'Masters of Reality' album, it's the white rat thrown into the cage of two hungry pythons. It's nothing short of a quick ecstatic feast. We have absolutely no intentions other than making music that we want to hear, and other musicians definitely sense that wonderful freedom and experimentation and try to emulate it, to great profit. Proof of good design, I'd assume."

And if a band's musical history and credibility are still relevant in today's American Idol, vocal tuned, studio buffed pop world; Goss began working with music-mega-mogul Rick Rubin in the mid 80's by recording the longest running 'Top of the Hour' theme music for MTV. Followed shortly by the release of the first Masters of Reality LP on Rubin's Def American Records. Goss soon reformed the band's line-up to join forces with none other than Cream's Ginger Baker, a collaboration that lasted nearly three years and resulted in an LP that sent the single "She Got Me (when she got her dress on)" to Number 8 on the Billboard charts. Simultaneously, Goss began working and forming what's now known as the 'California Desert Rock Scene,' producing three legendary albums with Kyuss and soon after began producing and even giving the name Queens of the Stone Age to a young musical protege' Joshua Homme. A musical partnership that still exists now nearly 20 years later and the start of a production career that has made Goss one of the world's most sought after rock and roll studio wizards and songwriters. His collaborations include The Cult, Stone Temple Pilots, PJ Harvey, UNKLE, Mark Lanegan, SOULWAX, Dave Grohl, Marilyn Manson's Twiggy Ramirez and many many more, but it's Masters of Reality that delivers the true core of Goss' and Leamy's musical powers, and the reason that the musical world has been paying close attention for over two decades.

Both improvisation and rhythm have always been major components of the unmistakable Masters of Reality sound, but on their new album, ‘Pine/Cross Dover’ (the band's brand new, two-headed beast of a full-length recording), the group pits the finer elements of the Mahavishnu Orchestra and Public Image Limited against each other. The end result? A Masters of Reality album that rocks, rolls, and grooves like one devilish son of a gun.

Joining Goss and Leamy, includes a host of special guests, including Eagles of Death Metal bassist Brian O’Connor and guitarist Dave Catching, Merle Jagger guitarist Mark Christian, background singers Shawnee Smith and Missi Pyle, as well as former Queens of the Stone Age guitarist Brendon McNichol. With a tour currently being planned, it’s only a matter of time until the latest batch of Masters of Reality classics take on a new life on stage.

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Masters of Reality Live!

US Headlining Tour Dates

11/10/2010 - House Of Blues - Anaheim, CA
11/11/2010 - 4th & B Street - San Diego, CA
11/12/2010 - House Of Blues - Los Angeles, CA
11/16/2010 - El Corazon - Seattle, WA
11/17/2010 - Lola's - Portland, OR
11/20/2010 - Pappy & Harriets, Pioneertown, CA

UK Dates w/ The Cult

1/18/2011 O2 Academy Leeds, UK
1/19/2011 O2 Academy Bristol, UK
1/21/2011 Hammersmith Apollo London, UK
1/22/2011 Cambridge Corn Exchange Cambridge, UK
1/23/2011 O2 Academy Bournemouth Boscombe, UK
1/25/2011 Rock City Nottingham, UK
1/26/2011 Wolverhampton Civic Hall Wolverhampton, UK
1/27/2011 O2 Academy 2 Newcastle, UK
1/29/2011 Academy Glasgow Glasgow, Scotland
1/30/2011 Academy Manchester Manchester, UK

Digitalism "Blitz" the US with First New Single in 3 Years!

Digitalism is back with their first new tunes in three years and you can be sure to count on other-worldly goodness. For the German Electronic duo, it’s not a case of understanding the mystery of the stars above but recording it. "Blitz" is the long awaited single from the electronic explorers who have created a big bang of their own. This song is a supernova that explodes through the speakers, bringing with it a euphoric state of consciousness, and while we may know there are far greater things happening within this moment, all you can do is dance.

Orbiting the world's conscience for years with the singles "Idealistic," "Zdarlight," "Jupiter Room"and "Pogo", a track that XLR8R Magazine called “one of the few singles released this year that successfully bridges the gap between the grittiest dance music and post-pop,” Blitz marks the start of the long journey home for Jens Moelle and İsmail Tüfekçias their heroic space odyssey nears closer to earth.

But now we must embrace the anti-gravity movements Digitalism have beamed down in anticipation for their return in the form of “Blitz” and the all-consuming space groove of “Stratosphere.”

Discovering a galaxy of new sounds and rhythmic activity, all reports indicate that the duo are almost ready to bring their collective movements back to earth when they release their long awaited second album next year; their 2007 debut LP Idealism stood out among a sea of similar-minded acts, attributed to their ability to so deftly walk the line of rock and electronic, and prompting Pitchfork to iterate that among their peers “Digitalism turn out to be the artists probably most dedicated of all to the idea of merging rock and electronic dance music.”

It has been an epic journey, one that Digitalism are prepared to share…

EOTO 2010 Fall Tour

Consummate road dogs EOTO just announced a jam-packed fall tour with headlining dates spanning both coasts before topping off a wildly successful 2010. The 30+ day tour will kick off on September 21st featuring 11 dates with DJ's MiMOSA and MartyParty on the west coast and then beginning in October the duo will fly solo in the Mid-West before heading east for the remainder of the winter.

Throbbing bass and thudding beats are the signatures of this project from drummers Michael Travis and Jason Hann. Born out of their shared love of electronic dance music, EOTO's M.O. is to take the free-wheeling party vibe of a DJ set to the next level by using organic instruments, innovative performance technology, and uncharted musical exploration. Live drums, guitars, and keys, and vocals are mixed, remixed, and sampled on the fly using cutting-edge programs. This is all done without a script, and without a net.

Hann plays a hyper EQ'd drumkit, chock full of multi-touch screens and MIDI controllers, and throws a number of effects on his otherworldly vocal styles. Travis takes on subsonic frequencies, generating the band's crushing low end with analog, digital, and software synthesizers, occasionally picking up guitar or a bass guitar and showing off his proficiency with instruments of all shapes and sizes.

Hann, has been playing percussion professionally since the age of 12. Years of collaborating, touring, and recording with the likes of Youssou N'Dour, Isaac Hayes, Dr. Dre, Loreena McKinnett, SCI, and a slew of other established artists running the gamut from Latin jazz to R 'n' B and soul allows him to move fluidly between styles. Adding to this is his depth in African and Latin drumming traditions, allowing the futuristic EOTO sound to keep itself rooted in the past.

For the last 16 years, Travis has been the drumming octopus in SCI. He morphs roles to melodic multi-instrumentalist in EOTO, providing the raw basslines and harmonic tapestry that fill out the soundscape of the duo. Both Hann and Travis have the chops and stamina for physically demanding, EOTO improvised sets, which have been known to go upwards of 4 straight hours.

"When we're playing live for 3 hours a night, it's like playing tribal drums in a ceremony," Hann explains. "I'm looking at one person at a time out there, and thinking "what can I do to make you dance?"

Hann and Travis play almost 200 shows a year, together, EOTO has played more than seven hundred unique showcases in 48 different states in the five years since the project's inception. Each set is recorded and released so fans can capture their unique EOTO dance throwdown, reliving the experience again and again.

TOUR DATES INCLUDE:


10/8/2010 Bourbon Theatre Lincoln Nebraska
10/15/2010 Granada Theater Dallas Texas
10/16/2010 La Zona Rosa Austin Texas
10/22/2010 The Last Concert Cafe Houston Texas
10/23/2010 Tipitina's Uptown New Orleans Louisiana
10/27/2010 Blind Pig Ann Arbor Michigan
10/29/2010 Norva Norfolk Virginia
10/31/2010 Granada Lawerence Kansas
11/2/2010 2720 Saint Louis Missouri
11/3/2010 The Canopy Club Urbana Illinois
11/4/2010 Majestic Live Madison Wisconsin
11/5/2010 EPIC Minneapolis Minnesota
11/6/2010 Riviera Theatre Chicago Illinois
11/7/2010 The Intersection Grand Rapids Michigan
11/8/2010 Blind Pig Ann Arbor Michigan
11/9/2010 Rex Theatre Pittsburgh Pennsylvania
11/10/2010 Tralfamadore Music Hall Buffalo New York
11/11/2010 Westcott Theater Syracuse New York
11/12/2010 Higher Ground Burlington Vermont
11/13/2010 Port City Music Hall Portland Maine
11/14/2010 Stone Pony Asbury Park New Jersey
11/15/2010 The Canal Club Richmond Virginia
11/16/2010 Chameleon Club Lancaster Pennsylvania
11/17/2010 World Cafe Live Philadelphia Pennsylvania
11/18/2010 Sonar Club Stage Baltimore Maryland
11/19/2010 Brooklyn Bowl Brooklyn New York
11/20/2010 Paradise Rock Club Boston Massachusetts
11/21/2010 River Street Jazz Cafe Wilkes Barre Pennsylvania
11/22/2010 Martin's Downtown Bar & Grill Roanoke Virginia
11/23/2010 Headliners Music Hall Louisville Kentucky
11/24/2010 20th Century Theater Cincinnati Ohio
11/25/2010 Southbound Knoxville Tennessee
11/26/2010 412 Market Chattanooga Tennessee
11/27/2010 Limelight Night Club Nashville Tennessee
11/28/2010 Newby's Memphis Tennessee
11/29/2010 Revolution Music Room Little Rock Arkansas
11/30/2010 Proud Larrys Oxford Mississippi
12/1/2010 Zydeco Birmingham Alabama
12/2/2010 Masquerade Atlanta Georgia
12/3/2010 Music Farm Charleston South Carolina
12/4/2010 Freebird Live Jacksonville Florida

Kids of Widney High Release Full-Length Documentary

“After I take over the world, I want to learn how to play the bass,” says effervescent, long-time Kids of Widney High member Cain Fonseca. One of nine singer/songwriters, Cain is a young adult from East LA with developmental disabilities who—along with the rest of the Kids—writes, records, and performs his own unique brand of rock music.

Begun in 1988 at special-education high school Joseph P. Widney High, the Kids grew out of an adaptive songwriting class that is still in operation today and continues to churn out specialized musicians and singers, some of whom have formed their own permutation of “Kids of Widney High”-esque bands.

Having in the past been compared to the likes of: Daniel Johnston, Wesley Willis, Langley Schools Music Project, and Florence Foster Jenkins, the Kids of Widney High have been covered in both concert performances and on album recordings by such hot bands as: the Yeah Yeah Yeahs, the Aquabats, and Osaka Popstar (comprised of members of: the Ramones, the Misfits, and Black Flag). They also boast a dedicated fanbase that includes everyone from Marilyn Manson and Fiona Apple to actor James Garner and filmmaker Spike Jonze. Playing the LA leg of the Warped Tour some years back, a prominent record producer handed to the Kids their first album—made by an earlier lineup of members—that had at one time been owned by Kurt Cobain.

In the past, the Kids have worked with musical luminaries Jackson Browne (who assisted them with the recording of the second of four albums they have out to date), Mr. Bungle/Faith No More frontman Mike Patton (who took them on their first tour along with Bungle, and who put out a Kids album on indie pioneering label Ipecac), and various producers/writers from South Park who worked with the Kids and a similar group, MTV’s How’s Your News, on a television pilot some years back. The Kids were also prominently featured in comedic hit film The Ringer starring Johnny Knoxville and Katherine Heigl.

Having now broadened their artistic endeavors to encapsulate: fine art, films, music videos, short documentaries of their own, creative writings, poetry, and fashion designs, the Kids decided upon taking their first headlining, full-length tour up the West Coast (from Los Angeles to Seattle and back) two summers ago. Along the way, the Kids played a number of gigs at high-profile venues, made time for local print/online media syndicates and radio shows, exhibited their artwork and short films, and read their writings (including one oration at Beat epicenter City Lights in San Francisco).

Sponsored in part by Sony PlayStation, this tour was also an opportunity for the majority of Kids members—all of whom come from financially challenged backgrounds—to see a world outside of the city of Los Angeles. But, as Kids member (and self-proclaimed “class clown”) Peewee proudly intones, “We’re not here to tell a sob story. No! We’re having fun. Are you having fun?”

Act Your Age: The Kids of Widney High Story is a vibrant, life-affirming, funny, and wholly compassionate film that explores just what happens when a specialized group of artists such as the Kids of Widney High finally take to the road as they visit new cities and peoples, teaching their fans about the changing world of the disabled community at large. Along the way, the Kids fight, they love, they grow apart and together, they party—as do all raucous rock bands on such rapid-fire tours!—and come out the other end, as Kids frontman Shelly Goodhope says of himself, “A better man.”

Supplemented by over ten years of footage from various venues, fans, groupies, and the Kids themselves, Act Your Age is also an incredibly intimate portrait of a subculture that has been for far too long misunderstood and, ultimately, disenfranchised in the eyes of the general mainstream public.

Comparable to such independent mainstay music documentaries as: Dig!, End of the Century, and Fugazi’s Instrument, Act Your Age: The Kids of Widney High Story is a poignant and often funny look at a group of artists who are ready to challenge conventional notions about persons with disabilities and contemporary art in America today.

It’s time for everyone to see the world through the eyes of a Kid!

Learn more about The Kids of Widney High at:

www.KidsOfWidneyHigh.com.

www.YouTube.com/ProfKlickberg

www.MySpace.com/TheKidsOfWidneyHigh

Also, be sure to check out the FREE preview.  Here is information on the preview:

ACT YOUR AGE: THE KIDS OF WIDNEY HIGH STORY
Monday, October 18th & 7PM
99 minutes + Q&A with filmmaker and KOWH member
CU Campus, ATLAS 102
Trailer | Website | Youtube

Albert King/Stevie Ray Vaughan 'In Session'

On December 6, 1983, legendary blues guitarist Albert King joined his disciple Stevie Ray Vaughan on a Canadian sound stage for the live music television series In Session. Magic happened. The highly sought after video footage from that one-time legendary summit becomes available for the first time ever on November 9 with the release of Stax Records’ deluxe two-disc CD/DVD In Session.

The DVD contains three classic performances unavailable on the previously issued audio disc: “Born Under a Bad Sign,” the landmark title track from Albert King’s biggest Stax release written by William Bell and Booker T. Jones; Stevie Ray’s “Texas Flood,” the Larry Davis-penned title track of Vaughan’s immortal debut album; and “I’m Gonna Move to the Outskirts of Town,” made famous by Louis Jordan and later, Ray Charles.

“It was evident from the first choruses,” writes liner notes author/musicologist Samuel Charters, “that they were playing for each other. And that was the best audience either of them could ever have. The music never lost its intensity, its quality of something very important being handed back and forth and there was time for Stevie and Albert to see where their ideas took them.”

Accolades have showered upon this momentous encounter. “As a document of what was probably one of the greatest nights in the musical life of SRV, this belongs in the collection of every true fan,” said the Austin American-Statesman. Sonic Boomers added, “Both men are gone now, but rare recordings like In Session remind us of a time when blues giants still walked the earth side by side.” Elmore magazine called it “an indispensible part of any blues fan’s collection.” And BluesWax noted, “thank goodness, this disc lives on and on.”

Now this one-of-a-kind visual document featuring two giants of American blues can be enjoyed by audiences all over the world. Sadly, King and Vaughan would not share a stage together ever again. Vaughan, 31 years King’s junior, died in a helicopter crash in the fog on the way back from a concert in 1990. King outlived him by two years, dying of a heart attack in 1992. They didn’t meet often, and their careers took different paths. But we can all be grateful for that one long day in a television studio when sparks flew and this timeless performance was forever captured.