project

Chris Berry brings CB3 from Zimbabwe to the West Coast

What happens when you put African grooves born in the ghettos of Zimbabwe with the ground breaking guitar work of San Francisco’s scene and combine it with New York City’s urban electronica? The west coast is about to find out.

Joining together for their first multi-night tour, and performing under the guise of CB-3, Chris Berry has arranged his most interesting collaboration yet. Featuring San Francisco’s own Steve Kimock alongside the rhythm section of the Brazillian Girls comes an explosive cross-cultural musical experience for music lovers of all types - CB-3 (Chris Berry Trio) Featuring Steve Kimock. The 10-day tour will maneuver along the west coast including dates in Santa Cruz, San Francisco, Eugene and Portland Oregon.

Music first touched the Grammy award winning Chris Berry as a teen living in the heart of Zimbabwe where he carefully learned the indigenous rhythms of Africa on the sacred Mbira (African Thumb Piano). His ability to speak out against the tyranny of the Zimbabwean regime through the art of music won him overnight success across the country and in the World Music market, bringing his music around the globe. Since then, he has performed on the stages of the 2000 Olympics, the Sydney Opera house and the nations largest festivals across the United States with his project Panjea. 2010 finds the “Afropop Superstar” (SF Chronicle) a multi-instrumentalist with grace on Mbira, the hand drum, as well as a gifted singer-songwriter whose voice is often compared to Sting.

Together with CB3, Berry combines his unique intercultural perspective with the nations highest caliber of musicians, each known for their genre bending talent, for an intimate musical experience. The project features “Guitar Monk” Steve Kimock who was recently hailed on CNN.com as an “unknown legend,” as well as Aaron Johnston (drums) & Jesse Murphy (bass) from the Grammy award nominated Brazilian Girls.

Collectively, CB-3 (Chris Berry Trio) Featuring Steve Kimock has the ability to bring together three decades of music history tightly fitted into one anthology adorned with cutting-edge improvisational guitar, hip-hop and elements of modern electronica. Show goers can expect both a dance ready experience as well as an intimate view into music provoked by both the past and present.

For more information about CB3 or for ticket information check out: Chris Berry Trio | Panjea | Kimock

TOUR DATES
2/24 Moe's Alley - Santa Cruz, CA
2/25 Montbleu Resort Casino - Lake Tahoe, NV
2/26 Yoshi's - San Francisco, CA
2/27 Yoshi's - San Francisco, CA
2/28 Mystic Theater - Petaluma, CA
3/1 Point Arena Theater - Point Arena, CA
3/2 Red Fox Tavern - Eureka, CA
3/4 W.O.W. Hall - Eugene, OR
3/5 Mt. Tabor Theatre - Portland, OR
3/6 Domino Room - Bend, OR

Bela Fleck The Africa Project @ Boulder Theater

In his most ambitious project to date, renowned musician Béla Fleck explores the origins of the banjo. Fleck discovered in his travels in Africa that, while the banjo is traditionally considered an American instrument, its origins lie far from her shores. Throw Down Your Heart, the award-winning film, documented Fleck’s travels and explorations of music. After a celebrated album release and a successful tour in 2009, Fleck returns to the stage with more collaborations with some of Africa’s most talented musicians.

Béla Fleck is often considered the premier banjo player in the world. While still in high school he began experimenting with playing bebop jazz on his banjo, mentored by fellow banjo renegade Tony Trischka. In 1980, he released his first solo album, Crossing the Tracks, with material that ranged from straight ahead bluegrass to Chick Corea’s “Spain.” In 1989 he formed the genre-busting Flecktones, with members equally talented and adventurous as himself. Béla plays acoustic and electric banjos, mixing a bluegrass and folk sound into a modern improvisational style. The recipient of Multiple Grammy Awards going back to 1998, Béla Flecks' total Grammy count is 11 Grammys won, and 27 nominations. He has been nominated in more different categories than anyone in Grammy history.

KGNU presents
BELA FLECK THE AFRICA PROJECT
ft. Bassekou Kouyate, Ngoni Ba, Anania Ngolia & John Kitime
Monday, February 8
doors 6:30pm, show 7:30pm

-

Boulder Theater
2032 14th Street
Boulder, CO 80302
303.786.7030
www.bouldertheater.com

Ted Nash Mancini Project Wed. Dec. 2nd At The Iridium Jazz Club

The Ted Mancini Project will play the Iridium Jazz Club on Wednesday, December 2nd, 2009.  The Mancini Project features Ted Nash's interpretations of film composer Henry Mancini's work. The project is deeply personal to Ted as his father played on most of the Mancini soundtracks and Ted grew up listening to this music. The overall sound is seductive and smooth. It reminds me most in style of 60's bossa nova (Stan Getz) and 50's jazz. Also is has a bit of a lounge feel to it. The album is played by a quartet - Rufus Reid bass, Frank Kimbrough piano, Matt Wilson drums, and Nash on tenor sax, alto sax, soprano sax, alto flute and piccolo. The spacing on the album is great. Each musician's part can be clearly heard and the sound is never cluttered. More so than any other of Nash's album, this quartet setting really showcases Nash's playing on a variety of instruments as he is the primary soloist throughout the album. On his other albums there always seems to be so much going on that you don't always get a great look at Nash's playing. Here the sound is very clean and crisp. You really get to see all sides of Nash's playin.

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

Tell the EPA not to let a massive limestone mining project ruin the Everglades

The Everglades wetlands ecosystem, our country's largest subtropical wilderness, has already been devastated by a century of destructive human activity. For many years, NRDC and other environmental groups have been working to stop a gargantuan limestone mining project from causing even more harm to the Everglades, irreversibly destroying critical wetlands and endangered species habitat, contaminating local drinking water supplies and costing taxpayers hundreds of millions of dollars.

Earlier this year, a federal court determined that the Army Corps of Engineers violated the law when it issued permits to the mining industry to turn more than 5,000 acres of Everglades into open pits. But the Corps is now set to re-issue those permits as well as approve the destruction of another 10,000-12,000 acres of wetlands. Together with existing mines, this would amount to converting 30 square miles of historic Everglades and irreplaceable wildlife habitat into mining pits.

As if the devastation to the Everglades were not reason enough to stop the mining, recent studies demonstrate that the proposed mining would endanger the adjacent public wellfield, which supplies drinking water to millions. Alternative mining plans exist, and include large buffers to protect the Everglades and the public wellfield but still allow at least eight years of mining (depending on demand, which has slowed recently).

The Environmental Protection Agency has the authority to stop the proposed mining project by vetoing the permits.

What to do

Send a message urging the EPA to exercise its legal responsibility to protect the Everglades and public water supplies by vetoing the proposed permits and to approve only short-term mining plans that will protect the Everglades and public drinking water supplies.

The Dixon-Rhyne Project

Rob Dixon- for the Grateful Web

Reinvention, the new album and experiment from Rob Dixon and Melvin Rhyne, is a melding of the bebop jazz organ quartet with world music and jam. Though jazz has always been steeped in improvisation, it has had periods where its intricacies have been ingrained into composition on the page with little room for individual color or influence. This album has touches of the San Francisco cool jazz scene and free bop where a jazz combo moves with a melody like a patch of wild mint around a garden, finding new soil and nutrients for its growth.  It's an organic thing, and Dixon and Rhyne are showing that age (whether young or old) isn't any barrier to creating something called jazz.

Rob Dixon, who is comfortable with tenor and alto saxophones, is 37 years old. Born in Georgia, he studied jazz at Indiana University and then went on to New York to work as a side man with The Count Basie Orchestra, The Ellington Band, Rufus Reid, Tony Bennett, and Ray Charles. When he returned to Indianapolis, he formed a trio with drummer Kenny Phelps and organist Brad Whitely. They combined straight jazz with funk influences from Soulive and released an album, "What Things May Be," in 2006.

It was around this time that Dixon met Melvin Rhyne, who plays Hammond B3 organ and Mini Moog. Over three decades Dixon's senior, Rhyne had a history in jazz. Though he was a self-taught jazz pianist, he found work with up-and-coming jazz groups. In the mid 50s, he played with the reed multi-instrumentalist Rahsaan Roland Kirk and switched to organ at that time. Rhyne collaborated with jazz guitar legend Wes Montgomery in the early 60s. Soon after, Rhyne moved to Wisconsin and became active in the local music scene. In 1990, he returned to recording and did a record with guitarist Herb Ellis and trumpeter Brian Lynch. He even did a quartet session with Joshua Redman. When he moved back to his hometown of Indianapolis, he and Dixon seemed fated to work together. Now, 71 years old, Rhyne is taking his hard-bop organ and adding his velvet touches to this new project.

Dixon asked his trio drummer, Kenny Phelps, to join the group. His solid drumming has made him a popular session player. Finally filling out the quartet is an unexpected player. Fareed Haque, the sensational guitarist and sitar player with Garage Mahal, came aboard to add color with several guitars.

For Rhyne, this might have been the biggest stretch, to come into a jam-rich environment with the likes of Haque, but Rhyne clearly shines in this new album, putting a mark of jazz authority to the project. His organ work is varied, lively, and inventive. The improvisation that Dixon calls forth from his saxophones sets a benchmark for the rest of the quartet, and Haque, in particular, excels in meeting that level of creativity. And Kenny Phelps keeps it all on track.

The quartet is joined by Salar Nader on tablas on "Shadow and Light" and "Tomorrow Sierra." These two tunes are perhaps the most risk-taking for a jazz ensemble (but not for a jam group with strong jazz roots). "Shadow and Light" is reminiscent of the work of San Francisco percussionist Babatunde Lea and his quartet featuring saxophonist Richard Howell. Though the tablas add an Eastern feel, rather than Afro-Cuban as in Lea's work, they are not as pronounced as in "Tomorrow Sierra." "Shadow and Light" is more jazz whereas "Tomorrow Sierra" has a pronounced world sound with a trippy edge to the jazz.

All of the tunes, except one, on this CD are written by Dixon but enhanced by the quartet. The only cover, "Chit'lins Con Carne" is a classic gleaned from jazz guitarist Kenny Burrell's 1967 recording, Midnight Blue. It's a soul jazz tune where Phelps' gospel backbeat carries the quartet along, allowing Haque to explore this old chestnut.

Throughout the entire album, the sax, organ, and guitar all take turns at soloing, without overstepping anyone's place in the group. No one outshines anyone else. They work as a cohesive whole, creating a real conversation between musicians and producing some of the best jazz I've heard in a long time.

Reinvention is an album to sit and savor. If you're a seasoned jazz enthusiast, you'll love the freshness in this album. If you're knowledge of jazz comes from jam, this will be one to add to your collection. It is one of the best new albums out that combines the long legacy of jazz with the richness of new innovators.

The Dixon-Rhyne Project is something to try to catch live. They are playing at the Jazz Kitchen in Indianapolis on July 9 and continue to play in the city when they can.

Pangaea Project Benefit

photos by Tim Hurley- for the Grateful Web

Each year, through the universal language of music, the PANGAEA PROJECT BENEFIT celebrates global awareness, culture, and youth leadership by activating music fans, artists, and progressive thinkers throughout the Northwest for a weekend of improvisational fun.

This year's two-night all-star event features the improvisational mastery of The Everyone Orchestra conducted by Matt Butler with special guest performers Steve Berlin of Los Lobos, The String Cheese Incident's Michael Kang, drummers extraordinaire Jeff Sipe of Aquarium Rescue Unit and Stanton Moore of Galactic, members of the March Fourth Marching Band - the M4 Singers, keyboardist Asher Fulero, Strings For Industry bandmates Darol Anger, Scott Law, and Tye North, and many others. The Stanton Moore Trio will open the show on Friday, May 16th. Peak Experience's Johnny D work will provide a special spoken word segment on both nights. Additional guests to be announced in the coming weeks.

What makes Everyone Orchestra performances stand out from other superjams is the conducting. Butler, along with several others, facilitates the jams using giant cue cards which direct the musicians and audience alike in a massive celebratory coming together. The directions include anything from key and time changes to mood swings and audience actions such as massive sing-a-longs, shouts, jumps, dances, song title suggestions and more.

kangThe last annual benefit concert raised almost $20,000 for The Pangaea Project which engages teenagers from underserved neighborhoods in local and international service-learning projects by promoting the development of leadership skills, increasing global awareness, and fostering a commitment to work towards social change. Proceeds from ticket sales, raffles, and other donations will be contributed directly to The Pangaea Project.

Previous Pangaea Project benefits have been enlivened by guest speakers, politician Dennis Kucinich and environmental activist Julia Butterfly Hill. Ms. Butterfly Hill reflects on the Everyone Orchestra, "I was blown away by the talent, humor, love, and brilliantly orchestrated improvisation coming together in what truly can be described as magic."

Tickets: $22.00 advance, $25.00 day of show. Packages available. Ticket prices subject to service fees. Onsale Friday, April 11 th at 10am PDT thru Ticketmaster, by phone at 503.224.4400, or in person at select Fred Meyer stores. Reduced service fee tickets available at the Crystal Ballroom Box Office.

The PANGAEA PROJECT BENEFIT is produced by Slipknot Productions and MAST Projects.

John Popper Project Returns to Colorado

Photos courtesy of Tsunami Music Publicity- for the Grateful Web

When legendary front man / harpist John Popper and company return to Colorado, audiences throughout the Rocky Mountain State will be treated to an entirely unique, yet thoroughly organic experience. For seven nights, the John Popper Project featuring DJ Logic deliver their inimitable blend of experimental rock, jazz, and hip-hop fusion straight from the heart of four highly touted musicians and performers.

Bolstered by John Popper's mind bending harp prowess and machine gun vocal delivery, the John Popper Project serve up blistering dishes of bluesy-pop breaks and jazz fusion grooves. With Tad Kinchla's (Blues Traveler) meandering bass lines locked tightly with Marcus Bleecker's (Mosaic) danceable rhythms and DJ Logic's ever tasteful turntable percussion and accents, the four piece is completely comfortable within the boundaries of a well crafted studio pop gem or a spontaneous, all-out, live show improvisation.

From an auspicious union between Popper and DJ Logic in 2003, the special JPP chemistry is effortlessly recognizable within the group. "From the beginning the four of us immediately realized that our musical conversations are unique. We look forward to sharing that special Popper Project throw-down with audiences any chance we get," shares DJ Logic. John Popper adds, "Whether you want to dance to it, drink to it or smoke to it, the John Popper Project is musical exploration meant to be enjoyed, all in good fun."

The John Popper Project has proven to be enjoyable by lifelong fans of Blues Traveler and DJ Logic, all while reaching new audiences along the way. Even in the midst of their own hectic touring schedules, the chemistry shared between the four always leads them to take a time out for a few special JPP performances. The one-week-plus stint of Colorado dates promises to be no different

Mar 25 Sherpa & Yeti's - Breckenridge, Colorado

Mar 26 Mesa Theater - Grand Junction, Colorado

Mar 27 The Eldo - Crested Butte, Colorado

Mar 28 Belly Up - Aspen, Colorado

Mar 29 Cervante's Masterpiece - Denver, Colorado

Apr 1 Aggie Theatre - Fort Collins, Colorado

Apr 2 Vail Street Beat - Vail, Colorado

Global Drum Project Featuring Mickey Hart & Zakir Hussain

Mickey Hart- for the Grateful Web

The Global Drum Project Tour brings Mickey Hart, Zakir Hussain, Sikiru Adepoju, and Giovanni Hidalgo together again in a reunion sparked by the 15th anniversary of the ground-breaking album Planet Drum. Released in 1991, it went on to earn the first-ever Grammy Award in the World Music category. The tour is the groups first in almost a decade. It also marks the resumption of an artistic relationship – between Mickey Hart and Zakir Hussain – that goes back to the late 1960s.  The Global Drum Project will be playing the Boulder Theater on September 23rd, 2007 (more Global Drum Project dates below).

Mickey Hart is best known for his nearly three decades as an integral part of an extraordinary expedition into the soul and spirit of music, disguised as the rock and roll band the Grateful Dead. As half of the percussion tandem known as the Rhythm Devils, Mickey and Bill Kreutzmann transcended the conventions of rock drumming. Their extended polyrhythmic excursions were highlights of Grateful Dead shows, introducing the band's audience to an ever-growing arsenal of percussion instruments from around the world. Exposure to these exotic sounds fueled Mickey's desire to learn about the various cultures that produced them.

His tireless study of the world's music led Mickey to many great teachers and collaborators, including his partners in Planet Drum. Planet Drum's self-titled album not only hit #1 on the Billboard World Music Chart, remaining there for 26 weeks, it also received the Grammy for Best World Music Album in 1991 - the first Grammy ever awarded in this category. Planet Drum is one of twenty-nine recordings released on Mickey's the WORLD series on Rykodisc. The WORLD offers a wide variety of music from virtually every corner of the globe with releases like Voices of the Rainforest from Papua New Guinea and Living Art, Sounding Spirit: The Bali Sessions. In 2002, Mickey established The Endangered Music Fund to return royalty payments from many of these recordings to the indigenous people that produced them, and to further the preservation of sounds and music from around the globe.

Mickey's experiences have paved the way for unique opportunities beyond the music industry. He composed a major drum production performed by an assembly of 100 percussionists for the opening ceremony of the 1996 Centennial Olympic Games. Additionally, Mickey has composed scores, soundtracks and themes for movies and television including Apocalypse Now, Gang Related, Hearts of Darkness, The Twilight Zone, the 1987 score to The America's Cup: The Walter Cronkite Report, Vietnam: A Television History, and The Next Step. In 1994 Mickey was inducted with The Grateful Dead into the Rock and Roll Hall of Fame.

Mickey has written four books documenting his lifelong fascination with the history and mythology of music. These include Drumming at the Edge of Magic, Planet Drum, Spirit into Sound: The Magic of Music, and Songcatchers: In Search of the World's Music.

Long a social activist, Mickey appeared in August, 1991 before the U.S. Senate Committee on Aging, speaking on the healing value of drumming and rhythm on afflictions associated with aging. Since joining the Institute for Music and Neurologic Function at Beth Abraham Hospital in 2000, Mickey is continuing his investigation into the connection between healing and rhythm, and the neural bases of rhythm.

In 1999, Mickey was appointed to the Board of Trustees of the American Folklife Center at the Library of Congress where he heads the sub-committee on the digitization and preservation of the Center's vast collections. In October of 2000, the Saybrook Graduate School and Research Center conferred an honorary doctorate of humane letters upon Mickey for his work in advancing the preservation of aural archives.

Zakir has worked with many western and Indian artists, and has produced many works for fusion, perhaps most notably with The Beatles. In 1971 he recorded with an American psychedelic band called Shanti. He has also worked with John McLaughlin in Shakti in 1975, with L. Shankar in the Diga Rhythm Band, and with Mickey Hart on his Rolling Thunder album (on which he and his father played a tabla duet). Although Shakti was disbanded a few years later, it reunited under the name Remember Shakti. Zakir was touring by the age of twelve. He did his schooling in St. Michael's High School in Mahim. He completed his graduation from St Xaviers, Mumbai. Zakir went to the United States in 1970, embarking on an international career which includes no fewer than 150 concert dates a year.

In 1987, his first solo release, Making Music, was acclaimed as "one of the most inspired East-West fusion albums ever recorded." In 1988, he became the youngest percussionist to ever be awarded the title of Padma Shri. In 1990, he was awarded the Indo-American Award in recognition for his cultural contribution to relations between the United States and India. In April, 1991, he was presented with the Sangeet Natak Akademi Award by the President of India, making him one of the youngest musicians to receive this recognition from India's governing cultural institute.

In 1992, Planet Drum, an album co-created and produced by Zakir and Mickey Hart, was awarded a Grammy for Best World Music Album, the Downbeat Critics Poll for Best World Beat Album, and the NARM Indie Best Seller Award for World Music Recording. Planet Drum, with Zakir as music director, toured nationally in 1996 and 1997. Zakir also continues to tour with the musicians from Shakti — John McLaughlin, Shankar and T.H. Vinayakram — in different collaborations and ensembles as well as leading various percussion ensembles of his own design. In Summer'99, Shakti re-grouped for an international tour.

In 1992, Zakir founded live concert performances by masters of the classical music of India. The label presents Zakir's own world percussion ensemble, The Rhythm Experience, both North and South Indian classical recordings, Best of Shakti, and a Masters of Percussion series. He has recorded and performed with artists as diverse as George Harrison, Ali Akbar Khan, Ravi Shankar, Aashish Khan, Vasant Rai, Imrat Khan, Joe Henderson, Van Morrison, Jack Bruce, Tito Puente, Pharoah Sanders, Billy Cobham, Charles Lloyd, the Hong Kong Symphony and the New Orleans Symphony.

Text:  Wikipedia

Mickey Hart, Zakir Hussain, Giovanni Hidalgo, Skiru Adepoju Dates:

Click Here for GDTSTOO Mail Order Tickets

Sep 20, 2007 Centennial Hall - Tucson AZ
Venue Website Tickets: 520-621-3341

Sep 21, 2007 Mesa Arts Center - Mesa AZ
Venue Website  Click for Tickets

Sep 22, 2007 Globalquerque - Albuquerque NM
Venue Website  Click for Tickets

Sep 23, 2007 Boulder Theater - Boulder CO
Venue Website  Click for Tickets

Sep 24, 2007 Oriental Theater - Denver CO
Venue Website  Click for Tickets

Sep 27, 2007 Laxson Auditorium - Chico CA
Venue Website

Sep 28, 2007 Zellerbach Auditorium at UC Berkeley - Berkeley CA
Venue Website  Click for Tickets  By Phone: 510.642.9988

Sep 30, 2007 John Van Duzer Theatre - Arcata CA
Venue Website

Oct 05, 2007 Ferst Center/Ga Institute Of Tech - Atlanta GA

Oct 06, 2007 Jemison Concert Hall - Birmingham AL
Venue Website Tickets: (205) 975-ARTS (or) 1-877-ART-TIKS

Oct 07, 2007 Orange Peel - Asheville, NC
Venue Website  Click for Tickets

Oct 09, 2007 Maryland Hall For The Creative Arts - Annapolis MD
Venue Website  Click for Tickets  By Phone: 866-438-3808

Oct 11, 2007 Lisner Auditorium - Washington DC
Venue Website

Oct 12, 2007 Jorgensen Center for the Performing Arts - Storrs CT
Venue Website  Click for Tickets  By Phone: 860.486.4226

Oct 13, 2007 Flynn Theatre - Burlington VT
Venue Website

Oct 14, 2007 Bardavon 1869 Opera House -Poughkeepsie NY
Venue Website Tickets: (845) 339-6088 (Kingston) or (845) 473-2072 (Poughkeepsie)

Oct 16, 2007 Eisenhower Auditorium - University Park PA
Venue Website

Oct 18, 2007 Byham Theater - Pittsburgh PA
Venue Website  Click for Tickets

Oct 20, 2007 Wharton Center for the Performing Arts -East Lansing MI
Venue Website

Oct 21, 2007 Southern Theatre - Columbus OH
Venue Website Tickets: 614-469-0939 (CAPA ticket office) or 614-431-3600 (Ticketmaster)

Oct 22, 2007 Keswick Theatre - Glenside, PA
Venue Website Click for Tickets

Oct 25, 2007 The McAninch Arts Center - Glen Ellyn IL
Venue Website  Click for Tickets  By Phone: (630) 942-4000

Oct 26, 2007 Overture Center for the Arts - Madison WI
Venue Website  Click for Tickets

Oct 27, 2007 Orchestra Hall - Minneapolis MN
Venue Website Tickets: : 612.371.5656 or 1.800.292.4141

THE AMERICAN BEAUTY PROJECT

- for the Grateful Web

Two of the Grateful Dead's greatest albums, American Beauty and Workingman's Dead, both recorded in 1970, will each be honored with its own evening when Arts>World Financial Center presents The American Beauty Project free in the World Financial Center Winter Garden, 220 Vesey Street.

Workingman's Dead, which was recorded in March 1970 & will be honored Saturday, January 20, at 8:00pm by a distinctive roster of singer-songwriters, bands and instrumentalists when each perform one of the tracks on the classic album. The next night, Sunday, January 21, at 8:00pm, another group of singers and musicians will perform cuts from American Beauty which was recorded in August and September 1970.

Performing their own arrangements of the Workingman's Dead and American Beauty songs are Jorma Kaukonen (Hot Tuna, Jefferson Airplane), Ollabelle, Toshi Reagon, The Holmes Brothers, Jen Chapin, Dar Williams, The Klezmatics, Tim O'Reagan (The Jayhawks), Mark Eitzel (American Music Club), Larry Campbell, Catherine Russell, Jim Lauderdale, Andy Statman, Tony Trischka, and more names to be announced in the months ahead.

Putting together The American Beauty Project to celebrate 35th anniversary of these two landmark Grateful Dead albums is Artistic Director and Producer David Spelman, who was responsible for similar tributes to Bob Dylan and Bruce Springsteen. At last year's Nebraska Project honoring Springsteen, The Boss himself spent the evening standing unnoticed with the crowd before jumping on stage for the finale.

"Both Workingman's Dead and American Beauty were ranked on Rolling Stone magazine's list of the 500 greatest albums of all time, 258 and 262, respectively," said Mr. Spelman. "Each was extremely innovative at the time for their fusion of bluegrass, rock, folk and country music." Workingman's Dead, the band's fourth studio album, was recorded in March 1970, and was voted by readers of Rolling Stone as the best album of 1970, in front of Crosby, Stills and Nash's Déjà Vu and Van Morrison's Moondance.

American Beauty was recorded between August and September of 1970 and was released in November of the same year. It included instant radio favorites such as "Truckin'" "Sugar Magnolia" and "Friend of the Devil."

"The acoustic sound and folk/country tunes of Workingman's Dead would come as quite a shock to many fans, and to the critics as a harbinger of some sort of conscious movement (along with The Band, Dylan and the Byrds) toward country," wrote Grateful Dead biographer Dennis McNally in his program notes for the event. Mr. McNally went on to add that: "as usual with the Grateful Dead, the album's origins were serendipitous and synchronistic, involving no plan or program. Instead, their swerve to include country songs in their work began quite accidentally when their lyricist Robert Hunter moved in with the Garcia family in January 1969 ... In March 1970, they went into the studio to record Workingman's Dead. Hugely in debt to their record company, they were forced to be simple and economize, thinking consciously of Buck Owens' Bakersfield sound. The simplicity served the music perfectly, and the result was a classic, although not the departure many thought it was. They'd enlarged their vision, not changed it."

Arts>World Financial Center serves as the leading showcase in Lower Manhattan for visual and performing arts - from the intimate to the spectacular - by artists either emerging or established. Since 1988, year-round and free to the public, it has presented interdisciplinary arts programming with an emphasis on commissioned works, site-specific installations and premieres.

All events are free! No tickets required. Seating is first come, first served. For information, call (212) 945-0505 or click www.worldfinancialcenter.com.

Michelle's Dead Ticket Stub Project

Laguna Seca 1987- for the Grateful Web
Michelle''s collage of Dead ticket stubs- for the Grateful Web

After already beginning this project I decided to start to document my progress. The idea was to display my many years of Grateful Dead ticket stubs... the earliest from August 1984- Jerry Garcia Band at the Mann Music Center in Philadelphia, PA. For some reason I no longer have my first show tickets... which is disappointing. That was three shows from September 1983 at the Spectrum in Philly. I was 15 years old. Anyway, this was a way of reliving the good ol' days... and waving my freak flag high! Show your Dead!