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Caveman's 'CoCo Beware' Streets 9/13

After months of anticipation, Caveman is pleased to announce the digital release of their debut album CoCo Beware on September 13th, followed by the physical CD and vinyl release on November 15th. Exploding out of the New York scene over the last few months, the band has decided to get this hot off the presses album out as soon as possible via a digital self-release. The fans wanted it, so the fans get it — a straight-ahead ethos for a band that’s about the music FIRST.

In honor of the New York five-piece’s first release, the band has made “Old Friend” available as a free download, premiering the track with Fader Magazine this morning. Click HERE to hear the track. Recorded and produced by Nick Stumpf (French Kicks), CoCo Beware showcases the dreamy chamber pop and multi-part harmonies that have been turning heads at the band’s live shows for the better part of a year. Leading up to the release of their debut, Caveman will also be heading out on tour with The War On Drugs, hitting the east coast, midwest and Canada before returning to New York to celebrate their album release at the Mercury Lounge on Thursday, September 15th.

For Caveman, the last year and half have been a whirlwind. Formed in New York back in January of 2010, the band has gone from relative unknowns to opening for Edward Sharpe & the Magnetic Zeroes, White Rabbits, Here We Go Magic, Cursive, Wye Oak and Yuck in a little under a year. Listening to CoCo Beware, it’s easy to see why the band has garnered so much attention in such a short period of time. Opening with “A Country’s King of Dreams,” the band explores honey-sweet, country-tinged vocal melodies over tribal drumming. “My Time” is a slow-building pop gem, with lead singer Matthew Iwanusa’s vocals weaving in and out of band’s backing vocals. Caveman’s lush four-part harmonies, spaced-out guitars, and inventive percussion come together perfectly on the tracks “Easy Water” and “My Room.

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Upcoming Caveman dates:

* w/ The War On Drugs

08/06 - Montauk, NY @ The Surf Lodge

08/18 - Philadelphia, PA @ Johnny Brenda's *

08/19 - Brooklyn, NY @ Cameo *

08/21 - Allston, MA @ Brighton Music Hall *

08/22 – Burlington, VT @ Monkey Bar

08/23 - Montreal, CAN @ Casa del Popolo *

08/24 - Toronto, CAN @ Drake Hotel *

08/25 - Ann Arbor, MI @ Blind Pig *

08/26 - Chicago, IL @ Schubas Tavern *

08/27 - Milwaukee, WI @ Club Garibaldi *

08/28 - Minneapolis, MN @ 7th Street Entry *

08/30 - St. Louis, MO @ The Biliken Club *

08/31 - Lexington-Fayette, KY @ Cosmic Charlie's *

09/01 - Pittsburgh, PA @ Club Cafe *

09/02 - Washington, DC @ The Red Place *

09/15 – New York, NY @ Mercury Lounge (Album Release)

Jacob Fred Jazz Odyssey: Race Riot Suite

Jacob Fred Jazz Odyssey will release their 21st album Race Riot Suite on August 30th. Conceived, written and arranged by the band's lap steel guitarist Chris Combs, the recording is a long form conceptual piece that tells the tragic story of the 1921 Tulsa race riot. JFJO's core line-up, which in addition to Combs includes Brian Haas (piano), Jeff Harshbarger (bass) and Josh Raymer (drums), is accompanied by a five-piece horn section featuring Steven Bernstein (trumpet), Peter Apfelbaum (tenor and baritone saxophone), Jeff Coffin (tenor saxophone), Mark Southerland (tenor saxophone) and Matt Leland (trombone). The album was produced by Costa Stasinopoulos and recorded at Tulsa's legendary Church Studio less than a mile from where the riot happened.
In 1921, Tulsa was home to a powerful and affluent African-American community. In one of the largest racial conflicts and cover-ups in American history, massive race riots resulted in the death of hundreds of black Tulsans and the destruction of the entire Greenwood city district, including "Black Wall Street." With jittery melodies, propulsive rhythms and swirling improvisations, JFJO reflects on one of the least understood atrocities of the Jim Crow-era. As the Race Riot Suite unfolds, however, the music ultimately offers light amid the darkness, celebrating the resiliency of community and offering a prayer for the terrible mistakes of the past to never again be repeated. Through the process, the album becomes part of a long lineage of jazz recordings to bring awareness to civil rights issues.
"We felt obligated as Oklahomans to shine a light. What played a big part in the creation of the suite was that it wasn't talked about in Tulsa or taught in schools. So it's kind of this weird looming thing around a really comfortable middle-class suburban community," explains Combs. "As a Tulsan, there was this weird darkness that was still looming. It wasn't talked about. It was deliberately covered up by the local government and press. The idea came from me as a jazz musician and a Tulsan having an emotional reaction to what I learned."
JFJO debuted Race Riot Suite in its entirety with a live performance at the Tulsa Performing Arts Center this past May. They will embark on a U.S. tour to support the album's release in the Fall. The band performs at Festival International De Jazz De Montreal on Friday evening.

Candye Kane's 'Sister Vagabond' album rings triumphant in challenging year

Candye Kane has been called a survivor, a superhero and the toughest girl alive. (All are also titles of her self-penned songs.) Her eleventh CD release, Sister Vagabond, will hit the streets on August 16, 2011 on Delta Groove Records. Produced by Kane and her noted guitarist Laura Chavez, Sister Vagabond is a worthy successor to their 2010 collaboration, Superhero, which was nominated for Best Contemporary Blues CD in the Blues Foundation’s Blues Music Awards.

The jump-blues singer, songwriter and mother of two from East Los Angeles is a five-time nominee for Blues Music Awards, has nabbed ten San Diego Music Awards and starred in a sold-out stage play about her life. She’s beat pancreatic cancer in the last two years. She has performed worldwide for presidents and movie stars.

But her path to success was not always glamorous or easy. Raised in what she calls a dysfunctional blue-collar family, Candye became a mother, a pinup cover girl and a punk-rock, hillbilly blues-belter by the time she was just 21 years old. Ten CDs, six record labels, millions of international road miles and countless awards later, Miss Kane has proven to be a true survivor as she scrambled her way to the top of the roots-music heap, creating a world renowned reputation that has spanned two decades.

A colorful mixture of the traditional and the eclectic, Kane cut her musical teeth in the early ’80s onstage with Hollywood musicians and friends Social Distortion, Dwight Yoakam, Dave Alvin, Los Lobos, The Blasters, X, Fear and the Circle Jerks, to name just a few. While raising two sons, this role model for the disenfranchised championed large-sized women, fought for the equal rights of sex workers and the GLBT community and inspired music lovers everywhere. Her fans are a mixture of true outsiders: bikers, blues fans, punk rockers, drag queens, fat girls, queers, burlesque dancers, porn fans, sex workers, rockabilly and swing dancers, gray-haired hippies, sex-positive feminists and everyday folk of all ages.

In 1986, then married to Thomas Yearsley of the Paladins, she was touched by the music of Big Maybelle, Big Mama Thornton, Ruth Brown and more. Her self-released 1991 Burlesque Swing caught the ear of Texas impresario Clifford Antone, who signed her to a deal with Antone’s Records. Los Lobos’ Cesar Rosas and Paladin/Hacienda Brother/Stone River Boy Dave Gonzalez co-produced the first album of the deal, Home Cookin’. Picked up by Discovery (later Sire) Records, the Dave Alvin/Derek O’Brien-produced Diva La Grande was followed by Swango in the height of the swing craze.

Rounder/Bullseye Records signed her in 1995, releasing The Toughest Girl Alive, produced by Scott Billington. Four albums followed on the German RUF label, including the Bob Margolin-produced Guitar’d and Feathered. She then pacted with her current label, Delta Groove, releasing Superhero in 2010 and now Sister Vagabond in 2011.

Her full-time, 250-days-a-year touring schedule started in 1992. And today, Kane’s live shows are the stuff of legend. She honors the bold blues women of the past with both feet firmly planted in the present. She belts, growls, shouts, croons and moans from a lifetime of suffering and overcoming obstacles. She uses music as therapy and often writes and chooses material with positive affirmations that leave the audience feeling healed and exhilarated. In a show that is part humor, part revival meeting and party sexuality celebration, she'll deliver a barrelhouse-tongue-in-cheek blues tune or a gospel ballad, encouraging audiences to leave behind religious intolerance. She’ll slay the crowd with her balls out rendition of “Whole Lotta Love” or glorify the virtues of zaftig women with “200 Pounds of Fun.” She often says she is a ”fat black drag queen trapped in a white woman's body” and she dresses the part.

Kane has been included in countless blues and jazz CD anthologies including Rolling Stone Jazz and Blues Album Guide and Musichound: Blues, The Essential Album Guide and Dan Aykroyd’s 30 Essential Women of the Blues. She appeared on the influential call-to-arms of Southern California roots music, A Town South of Bakersfield on Enigma Records, alongside Lucinda Williams and Dwight Yoakam.

In addition to her musical achievements, Kane has become an activist and philanthropist in recent years. In August 2009, she appeared in Dublin, Ireland for the World Congress for Downs Syndrome with her United by Music charity. The project provides performance opportunities, blues history lessons and songwriting instruction to young people with disabilities, encouraging them to write their own blues songs to help them overcome their daily challenges.

A fighter par excellence, Candye has an authenticity, determination and optimism that keep her shows passionate, honest and irresistible.

“I take things one day at a time and today I am feeling great and very optimistic about my new CD,” Kane says. It’s been awesome to write and co-produce again with my guitarist Laura Chavez. I am grateful for every chance I get to make music live, or in the studio. Most people are given only three months to live after a pancreatic cancer diagnosis and three years later, I am still here. So any opportunity I have to create music makes me humbled and grateful.

“People ask me why I want to work so hard and so much, since I tour 250 days a year. Everyone says I should stay home and relax after my health struggle. But music is my life and neuroendocrine cancer is a mostly manageable disease. I will continue to work as much as I can because I know life is fragile anyway. I would be fine if I died onstage doing what I love like Country Dick Montana or Johnny Guitar Watson. I’m not planning on going anytime soon, but when I do exit this plane, I hope it’s making someone else feel inspired by the powerful words in my songs.”

Ellie Goulding Announces North American Headline Tour

Cherrytree/Interscope recording artist Ellie Goulding returns stateside this summer for her second headline tour in support of her critically acclaimed solo debut Lights. Aptly named, “THE LIGHTS TOUR”  begins July 23 in Atlanta and wraps in late August. “I am really excited about the next tour,” says Ellie. “This time we are ready; we are better prepared. Every city brought something new and I learned a lot playing to different crowds. It is a learning curve. America get ready -- we're coming and it's going to be huge!”

Having already conquered her native Britain with the best selling debut album of 2010, singer-songwriter Ellie Goulding has won over the US audience garnering rave reviews.  Lights is, as the New York Times put it, “a happy car crash of signifiers: part electro-pop, part soul, part blues, part indie rock, part folk” that mixes heartfelt emotion with other-worldly atmospherics and the  Los Angeles Times raves, “plenty of ethereal hooks, the album carries a dark overcast with a handful of emotionally raw tracks.” Rolling Stone calls Lights, “sweet, sexed-up folktronica” and Entertainment Weekly affirms “anthemic dance-pop confessional.”

This spring, Ellie made headlines when she was personally asked by William and Kate to play at the royal wedding. May followed with performances on Saturday Night Live and Live With Regis and Kelly.
Check out Ellie live on “THE LIGHTS TOUR,” dates below.
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THE LIGHTS TOUR
July 23 / Atlanta, GA / Center Stage - Buy Tickets
July 25 / Washington DC / 9:30 Club - Buy Tickets
July 26 / Philadelphia, PA / Electric Factory - Buy Tickets
July 27 / Boston, MA / House of Blues - Buy Tickets
July 29 / New York, NY / Terminal 5 - Buy Tickets
July 1 / Montreal, QC / Osheaga  Music and Arts Festival - Buy Tickets
August 1 / Toronto, ON / Kool Haus - Buy Tickets
August 2 / Royal Oak/Detroit, MI / Royal Oak Music Theatre - Buy Tickets
August 4 / Minneapolis, MN / Fine Line Music Cafe - Buy Tickets
August 5 / Kansas City, KS / Kanrocksas Festival – Kansas Speedway - Buy Tickets
August 6 / Chicago, IL / Lollapalooza - Grant Park - Buy Tickets
August 8 / Denver, CO / Ogden Theatre - Buy Tickets
August 11 / Los Angeles, CA / The Wiltern - Buy Tickets
August 12 / San Francisco, CA / Outside Lands Music & Arts Festival - Buy Tickets
A lucky winner and their guest will be flown to the Los Angeles show to see Ellie live.
For further details please check out www.elliegoulding.com.

iClips.net to Stream Sold-Out Widespread Panic Red Rocks shows

For music fans all over the country, it wouldn’t quite be summer without a run of Widespread Panic shows at Colorado’s breathtaking Red Rocks Amphitheatre. For the band’s 2011 visit – happening June 24-25-26 - iClips.net will be onsite documenting the sold out run. “Widespread Panic: Live From Red Rocks” webcast, available at iClips.net and LiveWidespreadPanic.com, will offer full performance real-time video streaming, bringing three nights of epic music directly into people’s homes.

Performances can be purchased separately or as a 3-night package, including a limited number of 3-night packages with an exclusive event poster signed by the band. Visit WidespreadPanic.com to purchase webcasts and for more information.

“This being the 25th anniversary of Widespread Panic, we felt it appropriate to simulcast the Red Rocks shows because they have been such a huge part of our 25 years of touring,” says Buck Williams, Widespread Panic’s co-manager. iClips.net CEO and Founder Nate Parienti adds, “During a Widespread Panic show at Red Rocks, the energy is palpable. We’re thrilled to capture it on video and try and bring as much of the experience as possible to the folks at home who aren't able to be there in person.”

Leftover Salmon Announces 2011 Festivals

Leftover Salmon is pleased to announce our participation in the first ever Eco Music Festival (EMU) in Aspen, CO June 30th- July 3rd. We are honored to be part of this fantastic festival that is geared towards making a difference in the sustainability of festivals around the country. Salmon co-headlines on Saturday July 2nd!

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Other Acts Include:

RJD2, Perpetual Groove, Tea Leaf Green, Stokeswood

Many More to be Announced!

For more information please visit EMU  |  You can purchase your tickets here

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We are also pleased to announce that we are taking part in the River City Roots festival in beautiful Missoula, Montana on Saturday August 27th! This festival is free to public and sure to be a great time!

For more information please visit RCRF website

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"River Run" June 10-12 2011

On June 10th & 11th, Leftover Salmon performs a two night run in the Poudre Canyon at the newly owned and operated Mishawaka Amphitheater in Bellvue, CO. On June 12th the festivities travel to the new  State Bridge Amphitheater in Bond, CO to honor & revisit a celebrated tradition. 

Limited tickets are still available

Mishawaka Amphitheater - Tickets /  State Bridge - Tickets

The Greencards' new 'The Brick Album' features Vince Gill, Sam Bush

From the first notes struck together in 2003 through tours with Bob Dylan and Willie Nelson, up to and beyond their fourth studio album in 2009, The Greencards have won steadily escalating acclaim for their multi-dimensional Americana vision. Each step they’ve taken has widened their appeal. Their releases have topped the Billboard Bluegrass charts. In both 2008 (for their Viridian album) and 2010 (for Fascination), they were nominated for Grammy Awards in the “Best Country Instrumental” category. They’ve earned ovations from “newgrass” music devotees at MerleFest and from indie-rock loyalists at Lollapalooza and the Austin City Limits Festival. RollingStone.com noted, “This imported band is creating some of the finest Americana around.”

But this four-piece band, spearheaded by Australians Carol Young and Kym Warner, is interested less in past accomplishments than in looking ahead for new goals to achieve. Produced and engineered by studio veteran Justin Niebank (Vince Gill, Marty Stuart, Keith Urban), The Brick Album on the band’s own Darling Street Records is the first to successfully infuse The Greencards’ eclectic musical references with the excitement they generate onstage.

“We’ve been striving for this since our first record,” says mandolinist Warner. “We recorded totally in one room this time, with very little isolation. It was all about doing the performance now, without going back to add anything later on.”

“What you’re hearing is all one take,” bassist and singer Young adds. “If someone really didn’t like what we’d done, we’d play it all again from the top rather than drop the part in. When you drop in a part, you lose a little bit of the feel. You’ve got to get a run-up to it.”

That immediacy was heightened by the addition of two new members of the group. Tyler Andal, a young fiddle whiz from Tennessee, reinforces both The Greencards’ grounding in roots music and their eagerness to let in the fresh air of newgrass, rock, folk elements, Latin America and much more. “He thinks outside the box,” Warner explains. “We’ve always had a strong rhythmic aspect to our music, and Tyler definitely brings that.”

The other recent arrival, former National Flatpicking Championship winner Carl Miner, excels as a guitarist in that tradition but more importantly applies his virtuosity equally well beyond it. “He’s good at everything,” Warner says. “He’s one of the most versatile musicians, and probably the most consistent, we’ve ever played with. With Tyler and him in the band, everyone is pulling in the same direction.”

Make that “directions.” The Brick Album kicks off with “Make It Out West,” a rhythmically irresistible chant powered by guest artist Sam Bush’s slide mandolin, with lyrics conjuring restless dreams and far horizons. From there the songs take listeners through ever-changing vistas — the Spanish-inflected “Heart Fixer,” whose vocals by Young and guest artist Vince Gill stir memories of Marty Robbins; the slinky, teasing “Mrs. Madness,” written by Warner after a night of watching Bored to Death; the magical “Girl in the Telescope,” which floats like a feather in sunlight; “Tale of KangaRio,” an intimate Brazilian dance of mandolin and guitar; “Loving You Is the Only Way To Fly,” a dreamy evocation of the Louvin and Everly Brothers, the pillars of classic country duet vocals.

There’s much more, but two tracks bear special mention. The wistful “Faded” is a sweetly harmonized tune, so natural that you don’t even notice its unusual 5/4 time signature. Similarly, “Adelaide” is a brisk instrumental, built over a rushing stream of chord changes made accessible by melodies and solos of eloquent coherence.

“As we get older, the more I think about it, the more we want something in music you can cling to,” Warner says. “That comes with melody. What we do on The Brick Album allows us to have something not only on the record but also on our live show. It brings it back to “more than anything, this is about lyrics and harmony.”

It’s also about integrating fans more than ever into the band’s process. The Greencards followed an independent path with The Brick Album, partnering with its followers rather than with record labels to fund its sessions. In exchange for contributing to the “Buy A Brick” project, each donor had his or her name permanently inscribed on a brick within the wall that comprises its cover art.

“The times have changed a lot in the music industry, not so much in the creative side but in business side of making music,” Warner says. “We just wanted to give something unique and special to people, not just by sending them an early copy of the record by putting their names on the artwork. That makes them fully a part of it.”

But it’s the music that makes us all part of this journey. Warner and Young were both steeped in country music; she charted several No. 1 singles in her homeland as a solo artist and he won the Australian National Bluegrass Mandolin Championship for four consecutive years. They moved to Austin, put together the first incarnation of The Greencards there and today call Nashville home.

Along the way, they have picked up some influential fans. Their 2009 release, Fascination, prompted Rosanne Cash to say, “The Greencards are a little island of truth and beauty in a sea of artifice and mediocrity. What a fine group, and what a great collection of songs.” Buddy Miller called it one of the year’s “most inventive discs.”

With this new release, the world becomes more than ever The Greencards’ stage. Their sound defies category, balancing taste and technique, engaging lyrics and melodies and wildly creative arrangements. There may be a wall on The Brick Album’s cover, but the future suggested on these tracks knows no barrier.

Ian Anderson's Out Of This World Concert

When worldwide fame and notoriety have been achieved, taking your music into outer space is the only place left to go.

On April 12th Jethro Tull’s Ian Anderson will be taking part in a duet with US astronaut Colonel Catherine Coleman to celebrate the 50th anniversary of Russian astronaut Yuri Gagarin’s first manned space flight in 1961.

However, this duet is no ordinary collaboration. Whilst Anderson will be live on stage in Perm, Russia, Coleman will be in orbit in the International Space Station as she contributes to Ian’s truly out of this world concert.

Coleman’s part of the performance will be screened by video link to the audience in Perm from somewhere in the galaxy as part of this gravity defying gig.

The pair will be playing an excerpt from Bouree from Tull's STAND UP album.

Coleman has been practicing her Ian Anderson trade mark of playing the flute whilst standing (or in her case floating) on one leg. For 3 months, Anderson's flute accompanied Cady Coleman and her own flute in orbit allowing her to perfect her Anderson stance ahead of the duet

Sheryl Crow @ Boulder Roots & Blues Summit

For Sheryl Crow, the title of her seventh album isn?t just a location; it's a state of mind. "I grew up in a small town 100 miles from Memphis, and that informed not only my musical taste, but how I look at life," she says. "The drive to Memphis is all farmland, and everyone is community-oriented, God-fearing people, connected to the earth. The music that came out of that part of the world is a part of who I am, and it's the biggest inspiration for what I do and why I do it."

So for the Kennett, Missouri native, calling the disc 100 Miles From Memphis is a statement of purpose, both musical and emotional. It also marks a long-awaited return by the nine-time Grammy winner to the sounds that first drew her to making music.

The results evoke a time when soul and passion filled the radio waves, when the sweat and joy of a recording session could be captured forever on wax. Sometimes the musical references?Al Green, Sly and the Family Stone, Stevie Wonder?are made apparent, but the album?s eleven songs are characterized more by capturing a classic spirit than by imitating any specific style.

Crow explains that the way 100 Miles From Memphis was recorded is crucial to its slinky grooves and rolling rhythms. Produced by Doyle Bramhall II and Justin Stanley ("I knew they could get that old soul feeling with authenticity," she says), and cut mostly live with a regular crew of musicians, the album presented a new set of challenges for her as a singer and a songwriter.

With the musical direction already established, the album's messages crystallized in one night at Crow's farm, outside of Nashville. "Having a three year old, you don't get too much quiet time," she says, "but I sat up one night, and I worked all night long and came up with the better part of five lyrics."

What emerged was a set of songs that are unusually open and direct for someone often celebrated for the care and craft of her writing. "This music called for emotion, a place of sensuality and sexuality, and that's a little challenging for me," she says. "Sometimes it's easier for me to hide behind more intellectual lyrics. So it was a great stretching experience to show more vulnerability in my writing."

The songs on 100 Miles From Memphis display impressive range, in feeling and performance. First single "Summer Day" is a delightfully breezy slice of glory-days AM radio pop. "I wanted to experiment with writing something simple and positive," says Crow. "The feeling of a great, solid love, not just a new love, but something everlasting."

Crow, of course, first reached the spotlight as a back-up singer with Michael Jackson, and adds that "I Want You Back" was the first single she ever bought. "It wasn't a conscious choice to do an homage, but it wound up being a very bittersweet thing," she says. "Michael's death brought a lot of stuff back for me, so it was nice that we could include this."

For Sheryl Crow, 100 Miles From Memphis is the right album at the right moment. "My last record (2008's Detours) was pretty political, extremely personal, and more lyric-driven," she says, "so it seemed like a great time to do something soulful and sexy and more driven by the music." It took a lot of years, but with this set of songs, she finally made it back home.

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More Info / Buy Tickets

Ronnie James Dio & Elephant Art Conservation Project

The Ronnie James Dio Stand Up & Shout Cancer Fund has teamed with The Asian Elephant Art & Conservation Project (AEACP) to create one-of-a-kind guitars painted by the project's elephants in Thailand to raise money and awareness for both organizations. Wendy Dio, president and founder of Stand Up & Shout, board chair Gloria Butler and medical director Dr. Sandeep Kapoor, along with legendary Black Sabbath/Heaven and Hell bassist Geezer Butler and world-renowned photographer Mark Weiss, are currently in Chiang Mai, Thailand, home to the AEACP, where the guitars are being painted.

The talented elephants of the Asian Elephant Art & Conservation Project, whose paintings are now exhibited and sold in museums and galleries around the world and have been featured in National Geographic, are painting guitars graciously donated by The ESP Guitar Company.  These painted guitars will be auctioned off with half of the proceeds going to AEACP and the other half going to SUAS.

The Ronnie James Dio Stand Up and Shout Cancer Fund is a privately funded nonprofit organization dedicated to cancer prevention, research and education. It was founded in memory of the late singer who died in 2010. The organization is collecting additional guitars donated by celebrated musicians for a larger fund-raising auction later this year.

The AEACP is dedicated to saving the diminishing number of Asian Elephants and to raise public awareness of the plight of Asian Elephants. National Thai Elephant Day annually celebrates the importance of elephants a part of Thai culture and as part of their environment. Currently, there are between 3,000 and 4,000 elephants living in Thailand, half of which are domesticated.