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Dedication to Afro-Cuban Jazz: Art Blakey and Dizzy Gillespie

Creole Restaurant and Music Supper Club, located at 2167 Third Avenue (NE corner 118th St.), known for its great food according to ZAGAT, ambiance, and for bringing Jazz and R&B back uptown, proudly presents a Dedication to Art Blakey and Dizzy Gillispie for the inspiration of Afro-Cuban Jazz in America on Friday, April 9 and Saturday, April 10, 2010, respectively.  

Art Blakey (1919 – 1990) was a drummer, leader, composer and teacher, and co-founder the Jazz Messengers for 35 years. Blakey introduced congas to the sound of jazz in 1949, blending Afro-Cuban rhythms with straight ahead jazz.  After six decades of influencing Jazz around the world, Art died at the age of 71.

Dizzy Gillespie (1917 –1993) was a significant developer of the American jazz art form of bebop and modern jazz, and he was instrumental in founding Afro-Cuban jazz the infusion of Spanish rhythms.  He was a jazz trumpet player, bandleader, singer, and composer.  In the late 1940s, Gillespie was also involved in the movement called Afro-Cuban music, bringing Latin and African elements to great prominence and in the late 1940’s recorded with Chano Pozo and Mario Bauza.  Dizzy died at 75 leaving his legacy in Jazz and leaving Americans dancing to Afro Cuban jazz rhythms.

Creole Restaurant and Music Supper Club continues its tradition of being true to the American Jazz art form, by not forgetting jazz origins.  On Friday, April 9 and Saturday, April 10, 2010.  Grammy™ award winner Brian Lynch (trumpet), Grammy™ award winner Ian Smith (Alto Sax), Little Johnny Rivero (congas), Joel Forbes (bass), Todd Herbert (tenor sax) and “Killer” Ray Appleton (drums) will deliver an out of this world performance both nights, two sets each night, 7pm and 9pm with a $20 music cover charge. Doors open at 6pm and 8pm. Call 212-876-8838 ext.4 or visit their website for more information and to make reservations.

Idan Raichel Project @ Boulder Theater

The Idan Raichel Project burst onto Israel's music scene in 2002, changing the face of Israeli popular music and offering a message of love and tolerance that resonated strongly in a region of the world where headlines are too often dominated by conflict. With an enchanting blend of African, Latin American, Caribbean and Middle Eastern sounds coupled with sophisticated production techniques and a spectacular live show, the Idan Raichel Project has become one of the most unexpected success stories in Israeli music history.
Known around the world, especially in circles of Jewish, Ethiopian and Israeli communities, the Idan Raichel Project regularly sells out concerts in large performance venues. Since the international release, The Idan Raichel Project has headlined at New York's prestigious Central Park SummerStage, the Kodak Theater in Los Angeles, the Sydney Opera House and performed across Europe as well as in Mexico City, Sydney, Hong Kong, New Delhi, Singapore, and Mumbai. Future touring plans include South Africa and South America. Wherever they perform, The Project unifies the audience in a celebration of that which is unique about the cultures of the world, as well as that in which we are all alike.
Saturday May 15, 2010
IDAN RAICHEL PROJECT
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On Sale April 10
All Ages / General Admission: $36.00 / Reserved Tickets: $46.00 / Gold Circle: $56.00
Tickets will be on sale through the Boulder Theater box office
Internet 24-7 at www.bouldertheater.com
Phone: During box office hours 303-786-7030

Dreyfus Jazz Presents European Modernists

Jazz, once a singularly American invention and one of the United States’ greatest exports, has become a truly international phenomenon, with important players from all over the world making valuable contributions to the music’s evolution.  Europe, previously home to many of the most devoted connoisseurs of the art form, is now also the producer of some of the most innovative voices in jazz. With the inauguration of its European Modernists series Dreyfus Jazz is proud to bring U.S. audiences some of the best creative music being made on the continent today.  The first releases in the collection showcase musicians from Belgium, France and Italy, spotlighting two long respected veterans and a pair of important younger voices.  Taken together, Belgian guitarist Philip Catherine, French pianist Jean-Michel Pilc and Italians, drummer Aldo Romano and saxophonist Rosario Giuliani, these artists represent the continuing trend of noteworthy original music emanating from European environs.

Born in Belluno, Italy on Jan 16, 1941, Aldo Romano is the most senior of the four leaders, well known to audiences worldwide since his earliest recordings as a member of Don Cherry’s internationalist quintet featuring Argentinean saxophonist Gato Barbieri, German vibraphonist Karl Berger and French bassist Jean Francois Jenny Clark.  A resident of France since a young age, he’s played swinging drums with visiting American giants like Jackie McLean, Bud Powell, Lucky Thompson, J.J. Johnson, Johnny Griffin and Woody Shaw and avant garde explorations with Steve Lacy, Charlie Mariano, Frank Wright, Bobby Few and Bill Dixon through the years, giving his far reaching music a distinctively freewheeling flavor. His associations with fellow Europeans Michel Petrucciani, Rolf and Joachim Kühn, Enrico Rava and Michel Portal make him a particularly representative artist for this series.

Origine, Romano’s fourth effort for Dreyfus, finds the versatile artist returning to a romantic setting similar to that of his debut effort for the label, Chante, leading an expanded ensemble that displays his considerable capabilities as a composer.  Augmenting his jazz sextet featuring saxophonist/flutist Lionel Belmondo (who arranged all of the disc’s thirteen compositions) and trumpeter/flugelhornist Stéphane Belmondo (the date’s primary soloist), altoist Géraldine Laurent, pianist Eric Legnini and bassist Thomas Bramerie with a classical wind ensemble of clarinet, flute, English horn, bassoon, French horn and tuba, plus percussionist Xavier Desandre-Navarre.  The music is lush and beautiful, a decidedly successful melding of American and European sensibilities reflecting Romano’s wide ranging talents, which also include (like one of his influences, Bill Higgins) playing guitar and singing, the latter of which is heard to great effect on the final track, his “Jazz Messengers” with French lyrics by Yves Simon.

Guitarist Philip Catherine, born in London in 1942 to a Belgian father and British mother, was raised in Brussels’s where he began playing professionally while still a teenager.  Dubbed the "young Django" while still a youth, by the great Charles Mingus (on whose Three or Four Shades of Blues the guitarist recorded), Catherine came into his own voice playing in variety of settings, from bebop to fusion, including work with American expatriates Dexter Gordon and Chet Baker and European violin maestros Jean Luc Ponty and Stephane Grappelli. Since gaining recognition with American audiences for his two guitar work Larry Coryell, he has gone on to become one of the most highly respected artists on his instrument in both the U.S. and Europe.

Catherine, who has recorded over twenty albums under his own name since his 1974 Warner Brothers debut Stream (produced by the legendary French guitarist-vocalist Sacha Distel, who worked with Lionel Hampton, Dizzy Gillespie and John Lewis) and dozens more as a valued sideman, makes his sixth appearance as a leader on Dreyfus with Concert In Capbreton.  The live recording, featuring the guitarist’s working band with his longtime collaborator, Dutch bassist Hein Van De Geyn, Italian piano maestro Enrico Pieranunzi and former Bill Evans drummer Joe La Barbera, is a swinging affair documenting the group’s 2009 appearance in the charming seaside resort town in southwestern France.  The group stretches out on four standards from the Great American Songbook – “My Funny Valentine”, “My Foolish Heart”, “You’ve Changed” and “Speak Low”, along with two modern jazz classics, Sam Rivers’ “Beatrice” and Richie Beirach’s “Broken Wings” and a beautiful Van de Geyn solo bass piece “Change.”

Since moving to New York in 1995, virtuoso pianist/composer Jean-Michel Pilc has steadily earned a reputation one the city’s finest musical imports, working and recording regularly in many of the most important venues in the jazz capital of the world, including Sweet Basil, Small’s, Iridium and the Jazz Gallery, both as a leader and with the likes of Roy Haynes, Michael Brecker, Kenny Garrett and Richard Bona.  Born in Paris in 1960, where he taught himself piano, Pilc truly came into his own after moving to the United States and forming his longstanding trio featuring fellow Frenchman, bassist François Moutin (with whom he recorded his debut album, Funambule, in Paris in 1989) and the flexible Philadelphian drummer, Ari Hoenig.  An innovator with a deeply personal style of his own, Pilc has been called “musical genius’” by the Washington Post, while the New York Time’s Ben Ratliff astutely described him as “a splashy stunner who also has a Rubik's-cube mind for chord substitutions."

True Story, Pilc’s sixth album as a leader for Dreyfus since he began recording for the label back in 2001 with his Welcome Home, introduces the pianist’s remarkable new trio featuring veteran drummer Billy Hart and the great Russian born Mingus Dynasty bassist Boris Kozlov.  The program, predominantly composed by the leader himself, including the five part title track suite, continues on the idiosyncratic path blazed on his previous dates, with music that is both dazzling and unpredictable.  In addition to his other compositions, which include the classically tinged tribute “Mornings With Franz”, he also performs an original arrangement of Schubert’s “Relic” and typically unconventional interpretations of Cole Porter’s “My Heart Belongs To Daddy” and Tom Jones’ pop hit “Try To Remember”, with the former reimagined as a tango and latter serving as an Evanescent impressionistic journey.

Perhaps the least known artist presented in the European Modernist series, Rosario Giuliani is nonetheless an important new voice on the international music scene.  Born in Terracina, Italy in the saxophonist achieved deserved recognition when voted the best new talent in the 2000 critics poll Top Jazz conducted by Musica Jazz magazine. Since then he has gone on to garner attention for his work with artists like Gonzalo Rubalcaba, Cedar Walton, Marc Johnson, Charlie Haden, Phil Woods, Mark Turner and Jeff "Tain" Watts, as well as many of Europe’s best players.  Possessing a virtuosic technique reflecting a range of influences from Charlie Parker and Lee Konitz to John Coltrane and Wayne Shorter, Giuliani has proven himself to be a significant addition to the lineage of jazz saxophonists, capable of contributing valuably in a variety of situations.

Lennie’s Pennies, Giuliani’s tenth album as a leader and his fifth for Dreyfus, may well be the saxophonist’s best effort to date. Leading a quartet featuring Paris born Pierre de Bethmann on piano and Fender Rhodes, with expatriate Philadelphian Darryl Hall on bass and Joe La Barbera on drums, Giuliani proves himself to be a first rate on alto saxophone (which he plays exclusively on the date, eschewing the soprano sax that he has doubled on excellently on previous cd’s).  Opening with a blistering tempoed reading of Lennie Tristano’s title track, the leader leaves no doubt whatsoever concerning his powerful voice and technique. Elsewhere he expresses both a dreamy sensitivity, as well as a willingness to stretch boundaries when appropriate.  The program, which includes four originals penned by the leader and two from de Bethmann, as well as a couple of standards, Heyman and Young’s “Love Letters” and Irving Berlin’s “How Deep Is The Ocean” and a pair of modern jazz classics, Joe Zawinul’s “74 Miles Away” and Jimmy Rowles’ “The Peacocks” is one that should satisfy forward looking fans of straight ahead jazz.

Ironically, as modern technology and the internet makes the planet seem smaller and smaller, the jazz world continues to expand exponentially with creative artists from all over contributing their individual voices and homegrown influences to the music’s ever growing canon. The four artists featured on the Dreyfus European Modernist series, Aldo Romano, Philip Catherine, Jean-Michel Pilc and Rosario Giuliani, are each important voices in this once all-American music, reflecting the new wide world of contemporary jazz.

The Contribution: -- 'Which Way World'

When members of New Monsoon, Railroad Earth and String Cheese Incident come together to create an album the result is Roostsy Americana bliss. Contribution, an appropriate name for a group whose members have bestowed many a musical gift to the masses with their previous bands, will drop Which Way World on March 30.

An album bursting with country gumption and raw poetic flare, this debut showcases the artistic veracity and harmonious nature of some of the best musicians on today’s jam circuit. A balanced blend of old-time charm and aggressive string-heavy muscle, this collaborative effort exemplifies the razor-sharp skills of Tim Carbone (violin, vocals Railroad Earth), Jeff Miller (guitar, mandolin, vocals, New Monsoon), Phil Ferlino (keyboards, New Monsoon), Keith Moseley (bassist, the String Cheese Incident), and Jason Hann (percussion, the String Cheese Incident).

From the initial notes, “Come Around” takes off like a tumbleweed in a dust storm, moving with force, freely charting out its own territory in a sandy soundscape of earnest handclaps, vocal harmonies and a fierce web of strings. Chameleon-like in nature, this opening track captures both a mischievous apathetic side and one of comforted hope. The dichotomous lyrics of “Never mind/never mind/why?” and “Sometimes you gotta lose yourself/find yourself/come around again” play out like a fencing match of internal conflict. The track rounds things off with a whiskey soaked “I don’t care!” from Carbone.

“Time Was Only Yesterday” initially breathes saloon-singer vulnerability, and holds that vintage desire to relive the past. Unexpectedly, lyrics about a “carnival parade” are quickly met by a collage of festive circus-esque clamor. The colossal racket is spiked with the scream of brassy horns and faded shouts you would imagine escaping from the lips of a vagabond ringleader.

“Better Days” proves to be one of the most lyrically poignant tracks on the album. The need for nostalgia, once again, resurfaces. While it gets off to a mellow start, the harmonized sturdy chorus of ‘Gone gone away are better days,’ which culminates with the tinge of tambourine, stands out like a mighty oak left upright after a forest fire.

Brilliance isn’t limited to the instrumentals when you stop to absorb the momentous metaphors and similes just swimming around in the ocean of sound – “Couldn’t see the danger there/ like children scaling rocks beside the sea…”

“Fear of Nothing” hits the listener like a sun shower on a sweltering day. Cool, refreshing and unapologetic, it reigns down with honky tonk tenacity. The upbeat, electrifying piano-laden, tune exudes a sense of rock n’ roll, gospel and blues. Sprinkling a ferocious feminine energy to the mix, are the Black Swan Singers who come equipped with fierce pipes—strong enough to stir a corpse. By far the most danceable tune on the disc, it resembles a hybrid of Great America Taxi meets the Black Crowes.

‘Wind Me Up’ is more spoken then sung and comes across like a sincere monologue of someone who has grown tired of, but accustomed to, going through the motions. The accompaniments and vocals are reminiscent of something quirky country alt-rockers Wilco would create.

“Which Way World,” the title track of the album, captures a Crosby, Stills, Nash and Young vibe and yet at times it sounds more like a top ten contemporary country radio hit. Slow, steady and straight up Zenful, it’s a letter to our spinning sphere inquiring bout the very nature of its direction.

“Samsara” opens with piano playing that is rapidly coated by the lush emotion-evoking violin, proving that there is nothing like strings to set a melancholic mood. Capturing a rather dark tone, it sounds like a Celtic pagan homage to the earth— “I am the sky/speak through the wind/I am a shadow/darkness within...”

Let the musical monsoon of earthy cheese-coated goodness splash full force in a downpour that will have you tossing the umbrella and caution to the wind.

The Contribution: The Supergroup Releases Debut Album

Which Way World – the new release recorded by supergroup collective The Contribution - is the kind of debut album that only seasoned musicians can produce. Featuring the stellar contributions of Tim Carbone - violin, vocals (Railroad Earth), Jeff Miller - guitar, mandolin, vocals (New Monsoon), Phil Ferlino - keyboards (New Monsoon), Keith Moseley - bassist (The String Cheese Incident) and Jason Hann - percussion (The String Cheese Incident), the americana-tinged music on Which Way World is full and free-wheeling, offering exceptional chops that never overshadow the stand-out songwriting.

The Contribution releases Which Way World on March 30th, 2010 (SCI Fidelity Records); the album will be available digitally everywhere and on CD (the disc includes bonus video footage shot during the recording process) at www.thecontribution.net.

The idea for The Contribution was first hatched by Carbone, Miller, and Ferlino at a festival in the Pacific Northwest in 2005. According to Carbone, “[After] many days lost in creativity beneath the mighty redwoods, [we] emerged into the California sunshine with ten songs.” The contributions of Moseley and Hann from The String Cheese Incident were welcomed on board shortly thereafter, and the full studio line-up for the supergroup was solidified.

The Contribution plays only two shows in support of the album’s release – April 1st at the Bluebird Theatre in Denver, Colorado and April 3 at the Great American Music Hall in San Francisco, California. Show details are as follows:

Thursday, April 1st @ 9PM
Bluebird Theatre
w/ White Water Ramble
3317 East Colfax Avenue, Denver
Tickets: $20.00/ Ages 16+ Welcome
For more information contact 303-830-8497
or visit: bluebirdtheater.net

Saturday, April 3rd @ 9PM
Great American Music Hall
859 O'Farrell Street, San Francisco
Tickets: $20.00, $44.95 with dinner/All ages Welcome
For more information contact 415-885-0750 or visit:
gamhtickets.com


About the Players

Tim Carbone - New Jersey’s Tim Carbone is best known as a member of Railroad Earth. For The Contribution, Carbone lends his mood-altering violin work, as evident on the upbeat country-ish song “Steady Rise,” and his voice blends perfectly with Miller’s on such songs as “Samsara.”

Jeff Miller - As a member of the San Francisco-based New Monsoon, Miller has issued five studio albums since 2001. Miller’s penchant for alternating between guitar and mandolin, and his smooth vocals, are highlighted throughout Which Way World’, including the album’s first track, “The Closer.”

Phil Ferlino – Phil Ferlino is also a member of San Francisco’s New Monsoon. Handling all things keyboard-related, Ferlino’s playing in The Contribution reflects whatever the song calls for - as evidenced by such standouts as “Time Was Only Yesterday” (which contains organ (which contains organ playing reminiscent of the Band’s classic material) and “Wind Me Up” (which puts Ferlino’s stately piano lines up-front).

Keith Moseley – Moseley’s two-decade music career has been spent largely as bassist with The String Cheese Incident. In addition to his work with SCI and now, The Contribution, Moseley has played and recorded with multi-instrumentalist Keller Williams, including the 2006 live tribute to the Grateful Dead, Rex (Live at the Fillmore).

Jason Hann – Jason Hann joined The String Cheese Incident in 2004 as the band’s percussionist. Hann is extremely well-versed at his craft, having studied music in such exotic countries as Ghana, Haiti, and Korea. In addition to SCI, Hann has played with a slew of renowned musicians (such as R&B legend Isaac Hayes), has released his own solo album (2005’s ‘Rhythmsphere Vol. 1 - Djembe Furia’), and is a member of the electronic/experimental project, EOTO, with SCI band mate Michael Travis.

AM Taxi Announces Debut Album & Spring Tour Dates

AM Taxi— so-called because they’re all about moving across the U.S. towards their destination—gets ready to hit the road…hard. The guys will be touring in support of Spill Canvas late Spring with
additional dates for this Summer’s Warped Tour, starting June 24 through August 15. AM Taxi are one of the few groups booked for the entire prestigious concert series prior to releasing an album. They’ve already been out on the road with the likes of Sum 41 and The Ataris, while opening for The Offspring at Summerfest in Milwaukee, so they’re more than up for the task.
“Our goal is to take that 45 or 60 minutes and let people get away for a little bit,” says lead singer and guitarist Adam Krier, “maybe even convert some of ‘em to AM Taxi fans. And, if they dig what we’re doing, maybe they’ll check out some of the stuff that influenced us.”
Take one listen to AM Taxi’s Virgin records debut, We Don’t Stand A Chance to be released June 8, 2010 and you can hear reverence for the past and hope for the future, a band that can cut across any age or genre demographics. The band just wrapped their video for the single ‘The Mistake.' With a blend of old-school punk, world beat and modern pop influences, the Chicago-based band combines experience with exuberance.
“I try to write songs about things people can relate to,” nods Adam. “For me, the best music, at the end of the day, is therapeutic. That’s always in the back of my mind a little when I’m sitting down to write.”
Recorded in Austin, TX, with renowned producer Mike McCarthy (Spoon, Patty Griffin,...And You Will Know Us by the Trail of Dead), AM Taxi’s major label bow, offers a variety of different styles, from old-school punk to world beat and modern pop. “The Mistake” is a heart-on-the-sleeve confessional that recalls the Replacements, while “Fed Up” is a Springsteen-by-way-of-The Hold Steady classic rock raver, “Dead Street” sports a Police-styled world beat and “Charissa” a Clash-esque reggae rhythm.

TOUR DATES
April 21 - The Hub Cedar - Falls, IA
April 23 - Bluebird Theater - Denver, CO
April 24 - Murray Theater - Salt Lake City, UT
April 25 - The Venue - Boise, ID
April 26 - El Corazon - Seattle, WA
April 27 - Hawthorne Theatre - Portland, OR
April 29 - Slim’s - San Francisco, CA
April 30 - The Roxy Theatre - West Hollywood, CA
May 1 - The Boardwalk - Orangevale, CA
May 3 - The Rock - Tucson, AZ
May 5 - The Loft - Dallas, TX
May 6 - Meridian - Houston, TX
May 7 - The White Rabbit - San Antonio, TX
May 8 - Emo’s - Austin, TX
May 10 - The State Theatre - St. Petersburg, FL
May 11 - The Social - Orlando, FL
May 12 - Masquerade - Atlanta, GA
May 14 - The Recher Theatre - Towson, MD
May 15 - Stone Pony - Asbury, NJ
May 17 - First Unitarian Church - Philadelphia, PA
May 18  - The Middle East- Downstairs - Cambridge, MA
May 20 - The Basement - Columbus, OH
May 21 - St. Andrews Hall - Detroit, MI
May 22 - Metro - Chicago, IL

Groundation's 10th Annual Bob Marley Tribute Tour

Groundation began their annual Bob Marley Tribute Tour in 2000 as a means of celebrating the life and material of a true musical prophet. Marley's impact is hard to overstate. No other musician of the 20th Century is more well known across all parts of the globe than Marley.

His music united people of all classes and creeds through its easily relatable parables of overcoming social injustices by ways of unity and love. And though his music is often associated with the downtrodden and dispossessed, for surely those were who his music was made, mainstream media outlets served notice too; Time magazine famously listed Marley's Legend as the best album of the last 100 years.

But Groundation does not simply rest on the well known hits from Marley's hugely successful 'best-of' albums. Their tribute tour differs than other bands' similar outings by exposing those people familiar with Marley's music and message to the lesser known material of his catalog. While true that the inescapable sing-alongs do occur at these tribute shows, more often than not even the most seasoned Marley aficionado will hear songs they have yet to see performed live.



Groundation has drawn international recognition through their musicianship, which is unrivaled in the genre. A nine-piece band featuring swirling horns and keyboards, multiple percussionists, thundering b3 organ and bass, and a trio of lead and harmony vocalists, Groundation covers all bases with their wide ranging sound. Their live shows are renowned for over the top improvisational energy and positivity and their progressive sound is catching on, having played in 35+ countries on four continents in just the last few years, including headlining slots at major multi-genre festivals the world over.

These are not lame imitators attempting to replicate Bob's music. Groundation uses the template of Marley's music and liberally adds their own colors of the sonic palate creating altogether new and unique versions of timeless tracks. Groundation is the biggest, most respected American Reggae band in the world today and their tribute to the King of Reggae music is unlike any others. Come join us and find out why...

More Info / Buy Tickets

British Music Embassy Announces SXSW Lineup

In the 1960s, bands like The Beatles and The Rolling Stones put British popular music firmly on the international map. They were joined in later decades by artists as diverse as Led Zeppelin, David Bowie, The Sex Pistols and Oasis, making British music a distinctive international brand. British Music is thriving, both at home and overseas, because it continually renews itself, fusing cultural commentary, fashion and politics in a heady mix.

Two More Mondays of Thelonious MONK

Thelonious Sphere Monk, recognized as one of the most inventive pianists of any musical genre, he achieved a startling original sound that even his most devoted followers have been unable to successfully imitate.  His musical vision was both ahead of it’s time and deeply rooted in the tradition.  He shares with Edward "Duke" Ellington the distinction of being one of the century’s greatest American composers.

Two more Mondays left to see Laurence Holder's hit play, MONK, about the life and times of Jazz genius, Thelonious Sphere  Monk.  The play will be in performance on Feb 15th, and Feb 22nd @7pm.  at the world famous Nuyorican Poets Cafe.

For the February 22nd closing performance Rome Neal will have a special Banana Puddin' Jazz Jam & Open Mic event after the play, starting at 9pm. Purchase your tickets for the play and stay for the JAM all for $20. If you come down just for Rome's Banana Puddin' Jazz that night it's only $10!

MONK, the play received it's world premiere at the Nuyorican ten years ago and has since been seen by audiences all over the United States, from the east coast to the west coast and in the north and south.  So come out and celebrate this play which has made it's footprints in Black History/Jazz History/American History........

For advance ticket sales: www.nuyorican.org

David Malachowski & The Woodstock Allstars

The Woodstock Allstars is a revolving group of world-class musicians and friends who have played together in various combinations and configurations, but never all at the same time. What results is an intriguing, compelling blend of blues played with a jazz sensibility and rock stance. The name is borrowed from a friend; the late Artie Traum.

Led by venerable guitarist Malachowski (Shania Twain, Savoy Brown, Commander Cody) the Woodstock based band features some of the best musicians in the world. Bassist Graham Maby and drummer Gary Burke are thought by many to be the definitive Joe Jackson rhythm section, and it was Burke, Maby and Malachowski (as leader) that formed the core of the Shania Twain Band in the mid-nineties seen by millions. Burke –now with Professor Louie & the Crowmatix-was on Bob Dylan’s Rolling Thunder Tour, and in the Rick Danko Band, Maby has also played with Natalie Merchant, They Might Be Giants and Joan Baez.

WEDNESDAY., JAN. 27
DAVID MALACHOWSKI & THE WOODSTOCK ALLSTARS: PETE LEVIN-ORGAN, GARY BURKE-DRUMS, GRAHAM MABY-BASS, MACHAN TAYLOR-VOICE, DANIEL A WEISS-PIANO, DENNIS GRUENLING-HARP, ERIK LAWRENCE-SAXOPHONE, DAVID MALACHOWSKI-GUITAR

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IRIDIUM JAZZ CLUB
1650 BROADWAY (CORNER OF 51ST)
NEW YORK, NY 10023
RESERVATIONS: 212-582-2121
HTTP://WWW.IRIDIUMJAZZCLUB.COM/
SETS AT 8:30 & 10:30PM