bass

Rose Hill Drive at Fox Theatre | 10.15.11

Z2 Entertainment is proud to present Rose Hill Drive with Dax Riggs at the Fox Theatre on Saturday, October 15th.  Tickets go on sale Friday, August 26th for $15.00 in advance and $17.00 day of show.

Following a two year hiatus, except for one gig opening for Jane’s Addiction on New Year’s Eve in 2009, Boulder-based rock and roll band Rose Hill Drive has returned to debut the addition of new member bass player Jimmy Stofer and an entire album’s worth of brand-new material.

In 2003, guitarist Daniel Sproul, his vocalist brother Jacob and childhood friend drummer Nate Barnes began practicing in the basement of the house on Rose Hill Drive in Boulder, Colorado that the Sproul brothers grew up in. Since then, they’ve released two full-length albums, 2006’s self-titled debut and 2008’s “Moon Is The New Earth,” several EPs, and developed a worldwide fan base. In 2009, the trio went on hiatus.

In the ensuing months, Jacob switched from bass to guitar, bassist Stofer came on board, and the newly formed quartet began writing new material, which eventually became the band’s third studio album, 2011’s “Americana.” Stofer was previously a member of such local favorites as Hello Kavita and Dualistics.

Rose Hill Drive’s raw, emotive rock has earned the group high praises from both critics and fellow musicians alike. The band has opened for Wilco, The Black Crowes, Queens Of The Stone Age, Van Halen, Aerosmith, Stone Temple Pilots and The Who, among others.

--

Rose Hill Drive

Fox Theatre

Saturday, October 15th, 2011

Doors:  8:00 pm

Show Time:  9:00 pm

The Grateful Web Interview with FreekBass

“Concentrate”, the title of Freekbass’s newest album sums it well. With the influence of funk genre music that Freek experienced growing up in Cincinnati Ohio, along with his deep desire to play bass, Freekbass has without a question created an album that keeps bass and funk glued like never heard before.

MartyParty at Fox Theatre - 08.20.11

Z2 Entertainment is proud to present MartyParty at the Fox Theatre on Saturday, August 20th.  Tickets go on sale Friday, July 1st for $15.00 in advance and $18.00 day of show.

Since the release of his Blueberry Kush EP in February 2011, MartyParty has been rippling a continuous wave of monstrous bass throughout the US.  Whether headlining alongside fellow Monsters of Bass FreQ Nasty and Opiuo or performing as PANTyRAID with co-producer Ooah of The Glitch Mob, his signature sound of purple dubstep oozes through the bins to entrance sold-out dance floors across the country.

Supporters have grown organically from the loyal tribes of crunkstep purveyors to a newer 100,000 person strong army of sonic kush connoisseurs.  Fans give rise to his PANTyRAID’s Superior release, pushing the EP to #1 position on iTunes electronic album charts in April 2011.

When not on the road, the South African-born performer and producer locks down in his Brooklyn-based studio to produce a diverse catalog of original heat-from downtempo compositions that slip behind the curtains of a dark and twisted audio fantasy to intense stadium anthems riddled with hooks and bass.  His exploration into the world of future bass tells an electronic story of Purple-the subject of his debut album release.

Purple hits stores on May 31st, 2011 and is supported by scheduled club and theater appearances throughout the US and Canada, as well as festival dates at Camp Bisco, Lighting in a Bottle and Sonic Bloom.  The 13-track LP begins with a breakfast of “Eggs and Toast” before launching into an amusement park ride that twist and turns through hyper-drive drum & bass and throbbing dubstep.

Molly Sweeney: Gold Rings and Fur Pelts

One of the most compelling new voices to emerge from the Montreal music scene, singer-songwriter Molly Sweeney's debut album Gold Rings and Fur Pelts features nine songs that conjure up an elemental world of longing, passion, and poetry in a classic concept-album format. From a journey foiled by fate to a poignant French chanson of faithless love, these folk-infused torch songs explore the dark side of rapture, showcasing her sultry, dramatic vocals and enigmatic lyrics.
A regular on the Montreal circuit, Molly has shared the stage with a diverse slate of musicians including White Magic, Elfin Saddle, Josephine Foster, Scout Niblett, MV and EE, Simon Finn, Matana Roberts and Sally Seltmann, and performs with Sam Shalabi's Land of Kush both onstage and on their critically acclaimed 2009 release Against the Day and 2010 release Monogamy.
--
Track List:
1. Swollen
2. Not Faithful
3. Florida
4. Gold Rings and Fur Pelts
5. Full Moon
6. Eros and Psyche
7. You Mustn’t Worry
8. Spirit, Will I See You
9. Radiant Sun
--
Personnel:
Molly Sweeney: voice, guitars, tiple, autoharp
Jérémi Roy: upright and electric basses
Xarah Dion: keys
Molly McGivern: violin and morin khuur
Patrick Conan: drums
Gavin John Sheehan: electric guitar
Miles Perkin: upright bass
Becky Foon: cello
Gen Heistek: viola
Philippe Lauzier: bass clarinet
Jen Reimer: French horn
Jason Sharp: baritone sax
Sarah Wendt: French horn

Country Mice Announce Summer Tour Dates

What does Country Mice front-man Jason Rueger have in common with less than 300 people in the US?  Growing up in Beattie, that’s ruralest of rural Kansas. On a farm of course, that was passed down through three generations of his family and old enough to be on the Pony Express route. “Family, friends, and working the land gave us a good wholesome life”.
Walking dirt road paths, working and living off the land, squinting his eyes at the sun, but with headphones on, it is not the bucolic atmosphere but music that most inspires him.  At an early age, Rueger sets his sights for something different than the surrounding dirt and milo that stung his eyes and cut his hands.
Breaking away from the close-knit ties of friends and family, Rueger moves east, not to Nashville, where you might expect a country boy to venture, but to Brooklyn.  It doesn’t take long to hook up with fellow Midwest transplants Ben Bullington (guitar) and Kurt Kuehn (drums) as they all quickly band together, finding comfort in their shared sense of displacement.  Eventually, as the trio becomes more assimilated to their new surroundings, they recruit upstate New Yorker Mike Feldman (bass).
As Country Mice, they rally together to craft apocalyptic ballads through amplifier hazes that thicken into funnel clouds, drums that stomp-clap sedately before the storm peaks, and bass tones that thicken the bloodstream. Rueger draws on his small town rearing with sophistication beyond the ordinarily romantic and reductive Americana troubadour, and his songwriting is anything but dime a dozen.
Strong traces of Neil Young and Wilco are mixed into modern experimental guitar sounds that any fan of mid-90’s Sonic Youth and Dinosaur Jr. will love. Living and gigging in Brooklyn, Country Mice begin to fully develop their sound, which becomes by influenced the other hardworking bands of Brooklyn's fast-paced scene.
Their debut album Twister is out now.It's a record that sonically chisels through the calloused shell of glossy rock & roll to find the dissonant live wire beneath and play it for all its worth. It tells a tale of strained memory: the hardships, joys, and love of growing up in a small town in the Midwest, with the hopes and dreams of traveling the world – a record for every kid seeing the big world from his small bedroom window.
-
Summer Tour Dates:
July 5 Brooklyn, NY @ Glasslands
July 9 Brooklyn NY @ Cameo Gallery
July 13 Rochester, NY @ Bug Jar
July 15 Chicago, IL @ Cal's Bar
July 16 N. Manchester, IN @ The Firehouse
July 17 Indianapolis, IN @ Melody Inn
July 18 Louisville, KY @ Sunergos
July 19 Little Rock, AR @ Vino's
July 20 Mobile, AL @ Alabama Music Box
July 21 San Antonio, TX @ Limelight
July 22 Austin, TX @ Stubb's
July 23 Oklahoma City, OK @ Blue Note Lounge
July 24 Tulsa, OK @ Sound Pony
July 25 Kansas City, MO @ The Riot Room
July 26 Columbia, MO @ Mojo's
July 27 St. Louis, MO @ Ciceros
July 28 Cincinnati, OH @ Southgate House
July 29 Atlanta, GA @ The Drunken Unicorn
July 30 Savanna, GA @ The Jinx
July 31 Durham, NC @ The Pinhook
Aug. 1 Philadelphia, PA @ Kung Fu Necktie

Paper Bird w/ Dovekins at the Boulder Theater

97.3 KBCO & Westword are proud to present Paper Bird with Dovekins at the Boulder Theater on Thursday, September 8th, 2011.  Tickets go on sale Friday, June 24th for $14 General Admission tickets.

Paper Bird’s backbone is their songwriting, musicianship and a general allergy to all limitations and trends. With seven members and no leader, this band is pulled in every direction imaginable, but thanks to their unique instrumentation they are able to merge their spontaneous creativity into one, solid sound.

The members of the band- Sarah Anderson, vocals and trumpet; sisters Esmé and Genny Patterson, vocals; Tyler Archuletta, trombone; Paul DeHaven, guitar; Caleb Summeril, banjo; Macon Terry, upright bass – bring a Folk, Americana sound that pays homage to the American Bandstand of the 1950’s, with a hint of Roaring 20’s flare. But don’t be thrown off by their old-timey sound, Paper Bird maintains the Indie rock image and resonance of the current age with a progressive and complex style that keeps them on the forefront of the music scene. The band’s inception came a few years ago in Breckenridge, Colorado where they met for the first time. The members were busking in the streets where they earned a couple hundred dollars, bought some beers and dinner and decided to form a band. Shortly after they went into the studio and recorded their first self-released album Anything Nameless and Joymaking (2007), which has been a top selling record in local retail stores since its release.

The seven-piece Americana Folk band is boasted by three female lead singers and backed by outstandingly talented musicians, continually capture the hearts of new and old listeners. They were recently featured on NPR’s All Things Considered due their rare and beautiful approach to music. They were voted in the Top 10 Best Underground Bands by Denver Post two years in a row. In the last year they have played Red Rocks Amphitheater to over 8000 people and have shared the stage with Devotchka, These United States, Grace Potter & the Nocturnals, Brett Dennen, and Big Head Todd & the Monsters. Their haunting and authentic sound is a refreshing and breath taking experience.

The female vocals create a soulful, dynamic harmony that accentuates each singer, while giving the illusion of a single voice. The trombone, banjo, and guitar elevate the music to a higher level while the skilled notes of the bass reflect the harmonies. Each style bounces off the other, while each note appreciates the other. They make audiences feel love, excitement, and passion. A show not to be missed, a band that must be heard: Paper Bird is one of a kind.

Also, appearing is Dovekins who is made up of six goonish characters that are fun-loving and appreciate a good time.  Their shows have a range of instruments including stand-up bass, accordion, clarinet, piano, mandolin, trombone, banjo, tuba, spoons and washboard.  A psychedelic hoe-down may ensue.

-

Paper Bird w/ Dovekins

& Spirits Of The Red City and The Claptet

Boulder Theater

-

Thursday, September 8th, 2011

Doors:  7:00 pm

Show Time:  7:30 pm

Freekbass- Free Album Download Today!

From the mind of Freekbass, comes his 5th full-length release: CONCENTRATE, which continues to expand his horizons and soundscape.
While most kids were listening to Nirvana and Green Day, he connected with the bottom-heavy sounds coming out of the boom boxes like Zapp and Midnight Star. While working in a music shop to pay off his first electric bass he had in lay-away, he began to study the classics of Larry Graham, Sly Stone, Stevie Wonder, Parliament and Bootsy with a bass in one hand, and an MPC2000 in the other.
Today! The free download for "Concentrate" is now available! | Download "Concentrate" for free here.
Guests on "Concentrate" include: DJ Spooky, Adam Deitch (Pretty Lights/Lettuce), Steve Molitz (Particle, Phil&Friends, Headtronics), Tobotius (Animal Crackers,Science Faxtion), Bootsy Collins, Skeetones, You,You're Awesome, Ian McQuire/Sonic Spank.

Dimitri Vassilakis At The ZInc Bar "Across The Universe" album launch

Dimitri Vassilakis sings and plays songs from the Beatles, Doors, Nina Simone and Chet Baker repertoire, to celebrate Candid Records 50th anniversary!

Original arrangements recorded in New York with a large ensemble; a cosmopolitan line up of top international jazzmen from all continents. Special guests include the west coast r&b power vocals of Kamaria Ousley & the warm and sensual voice of UK’s vocal diva Juliet Kelly.

Dimitrios Vassilakis (soprano & tenor saxophones and lead vocals Theo Hill (piano), Essiet Okon Essiet (bass), Sylvia Cuenca (drums), Kamaria Ousley & Juliet Kelly (lead/backing vocals), Christos Rafalides (vibraphone), George Kontrafouris (hammond), Kostis Christodoulou (keyboards), Rex Richardson (trumpets), Adonis Andreou (trombones) and Enrique "Kiki" Bu (percussion).

-

Monday June 6th 9-11pm
The Zinc Bar
82 West 3rd Street (btw Thompson & Sullivan) Greenwich Village 212-477-ZINC (9462)

-

Viennese Prog-Jazz Band to Battle Gloom in NYC

On Wednesday, May 4, at 7:30 PM, the up-and-coming Viennese progressive jazz quartet Kompost 3 will present their self-titled debut album to a New York audience. Trumpet, e-piano, drums, bass, and subtle electronics provide the sonic groundwork for this young and funky instrumental jazz band. Despite their young age, the members of Kompost 3, Martin Eberle, Benny Omerzell, Lukas König, and Manu Mayr, have already played with a wide variety of renowned artists, including Soap&Skin, Wolfgang Mitterer, and Wolfgang Puschnig.

Founded in 2009, the band calls Vienna’s third district its home, a residential area for workers interspersed with masterpieces of aristocratic architecture. The days of 18th century imperialism are long gone, and the dreary reality of working life has settled into the third district. Detecting 21st century signs of muck and rot, the band takes its energy from this wholly Viennese air of decay to create music that is fresh and invigorating, much like a compost pile produces fertilizer – hence the name, Kompost 3.

Martin Eberle, born 1981, plays trumpet and flugelhorn, studies classical trumpet at the Feldkirch Konservatorium and jazz trumpet at the Hochschule der Künste Bern/Swiss Jazz School Bern. Benny Omerzell, born 1984, plays Fender Rhodes electric piano and red instruments and currently studies at the Jazzhochschule Graz. Manu Mayr, born 1989, plays electric bass and double bass and studies at the Konservatorium Wien Privatuniversität and the Bruckneruniversität Linz. Rounding off the distinctive sound of Kompost 3 with drums and electronics, Lukas König, born 1988, studies at the Bruckneruniversität Linz and the Gustav Mahler Konservatorium in Vienna.

The concert takes place at the auditorium of the ACFNY at 11 East 52nd Street (between Fifth and Madison). Admission is free, but reservations are required. Check or call 212 319 5300 ext. 222.

Labor Records reissues Heiner Stadler’s album Tribute to Bird and Monk

A truly groundbreaking landmark recording, Tribute To Bird and Monk, was widely lauded when it was first released in 1978 – credited as one of the best and most unusual albums of that year by Neil Tesser in a Jazz Magazine article that noted the record’s “tough, bright, innovative resiliency” and earning the coveted five star (highest) rating in a Downbeat review by critic Jerry de Muth (who called the two LP set “a brilliant mixture of arranged and free jazz”) and garnering arranger-producer Heiner Stadler a place in the magazine’s Annual Critic’s Poll as a Talent Deserving Wider Recognition.  More than thirty years later, the album originally released on Tomato Records, is a coveted collectors item whose importance has only been compounded with time, while Stadler’s pioneering conception continues to be a talent very much deserving of wider recognition.  Now reissued as a compact disc on his own Labor Records imprint, it is likely that Stadler’s unique talent will again be heard as deserving increased attention and the music will once more be praised on a level comparable to when it first appeared. The considerable artistic success of Stadler’s pioneering project can be credited as much to his visionary assembling of a truly distinctive ensemble to perform his inventive orchestrations, described by de Muth as “far more than arrangements,” noting that “recompositions would be a better term.”

In selecting veteran cornetist Thad Jones, a Monk alumnus and one of the most renowned arrangers of his day, to be an important member of the band filled out by much younger musicians who were closely associated with more modernist, even avant garde aspects of the jazz genre, Stadler imbued the date with an intriguing traditionalist facet at atime when tradition and innovation were virtually at war.  Tenor saxophonist George Adams, most recognized for his work with Charles Mingus made him at home in both camps, but his fierce uninhibited sound was certainly heard as being outside the mainstream.  The youngest member of the group, trombonist George Lewis as a member of the Association for the Advancement of Creative Musicians was clearly recognized as a member of the avant garde.  Stadler’s choice of rhythm section mates could be considered most astute, with multitalented pianist Stanley Cowell as one of the few players of his instrument to find a place in the post Ornette realm of forward looking modernism. Virtuoso bassist Reggie Workman, a veteran of Coltrane’s innovative band and  then a member of Max Roach’s creative quartet was extending both the range and the role of the bass.  While Lenny White, known for his pioneering fusion work on Miles Davis’ Bitches Brew and Chick Corea’s Return To Forever, proved to be a propulsive force, capable of swinging with fiery power.  The addition of percussionist Warren Smith on tympani for a pair of tracks further contributes to the band’s uncommon sound.

In his introductory comments for the reissue Tribute To Bird and Monk (prefacing the late Robert Palmer’s original liner notes) Jazz Journalist Association President Howard Mandel observes,  “By casting a unique sextet of New York City’s best improvising instrumentalists to explore the potentialities and retain the essences of music by two great jazz modernists composer-producer Stadler proved prescient. In 2010 tribute projects proliferate, though few take the dramatic leaps to create new art from indestructible aspects of established creations that Stadler’s does.” With remixed sound by the brilliant engineer Malcolm Addey listeners can now appreciate more the nuances of Stadler’s polytonal arrangements and the soloists’ daring improvisations on the six tracks split evenly between Monk and Parker compositions.

As Palmer points out in his liner notes (now reprinted) Parker’s opening “Air Conditioning” begins, “deceptively as it turns out, with a unison theme statement in C.”  Deceptively, as it is, because Stadler’s “polytonal manipulations on the theme …especially evident in the horn backgrounds that frame the solos.”  Each of the sextet members improvise boldly with Jones kicking things off with one of the date’s most conventional statements, followed by Lewis who pushes things a bit further out, preceding Adams who gradually takes things into space, with the ensembles raucous backgrounds deftly referring to Parker’s melodic line.  Cowell’s outing is particularly adventurous, proving himself to be one of the very few keyboardists who wasable to interpolate the vocabulary of Cecil Taylor into the more traditional language of bebop.  Workman, whopowerfully pushes the unit throughout, acquits the bass as an instrument quite capable of holding its own in the spotlight, while White solos musically, hearkening to Max Roach’s work with Bird.

Drums dramatically open Monk’s “Ba-lue Bolivar Ba-lues-are,” followed by Workman’s vigorously bowed bass and the horn section’s statement of the theme, which begins ominously before morphing into a carnival-like mood reflecting the composer’s sly sense of humor. Cowell, the lone remaining soloist, improvises lengthily here – referencing Monk frequently, occasionally with verbatim phraseology -- as horns enter and exit at odd intervals chime in with backgrounds transcribed from Monk’s original piano solo with Cecil Bridgewater (subbing for the snowbound Jones) playing with free spirited assurance.  Palmer notes the performance seems to be a particularly radical recomposition with each phrase of the theme voiced polytonally and separated from the next by a free collective improvisation, with Stadler’s score warning “don’t improvise too long in order to avoid losing the continuity of the melody.”

Parker’s ” Au Privave” features the trombone of George Lewis whose years of experience playing numerous uptempo Bird songs with Anthony Braxton finds him well prepared for his exemplary work here.  Adams plays the opening theme over Workman’s bass walking (in a different key) joined shortly thereafter by the horns. Lewis improvises marvelously, following Stadler’s instructions to vary his tempo, playing either slightly faster or slower than half time, while the rhythm sections plays in the set tempo.  The result is in Palmer’s words “constantly shifting mosaic of tempos … and each tempo swings.”

Workman and White open up Monk’s “Straight No Chaser” before the horns begin playing fragments of the well known melody with the various separate components linked by collectively improvised horn ensembles. Jones solos first, playing with an inspired abandon Palmer described at the time of the original release as “his most exciting and creative recorded work in years.”  Cowell again proves himself to be one of the most creative soloists of his generation improvising in tandem with the primordial Workman in a manner recalling Monk, while White’s drums run the gamut from New Orleans to out(er space) in a rhythmic duel with the horns’ staccato background. Workman’s extended unaccompanied bass solo brings the horns back in and the bassist walks things to a close

“Misterioso,” the final Monk exploration again begins with a Lenny White solo, his drums here joined by Warren Smith’s tympani, as various members of the ensemble play fragments of the bluesy theme to frame their percussion discussion, with Cowell’s piano clearly drawing the line between Monk and Cecil Taylor.  Workman’s bass is in the spotlight again, displaying a vast sonic array with incredible pizzicato and arco sections that are sensitively backed by the rest of the band on a truly masterful interpretation of the Monk classic engendered by Stadler’s daring arrangement which concludes with a return to the percussion section’s buoying of the theme.

Parker’s “Perhaps” ends the date on one of its lighter notes, with brass playing the not so widely known Bird line to open things up for Adams’ breathy flute as the rhythm section swings over Workman’s fast walking bass, joined intermittedly by trumpet and trombone, breaking up thetempo before Adams lets loose on tenor playing with a full emotional range -- from terrifying to tender -- that leads to a final ensemble statement of the theme with an almost conventional tone that offers an unexpected final relief.

The durability of this music, as daringly modern todayas it was when it was made more than three decades ago, stands as a tribute not just to Charlie Parker and Thelonious Monk, but also to Heiner Stadler, whose sympathetic vision of the two great composer’s creativity has brought their sound into the future while paying homage to the tradition from where it sprang.  As Mandel notes, “Tribute is a fair indication of Stadler’s powers. In it, he demonstrates that Bird and Monk wrote immutably multi-faceted music from which inspired individuals can generate kaleidoscopic variations, and that their music has inspired him to stretch form in a manner indisputably wed to content. There is no higher tribute than an artist making something new and enduring out of sources he admires and acknowledges.” This is the splendor Heiner Stadler provides to us with his Tribute to Bird and Monk.”