2007

Leftover Salmon Announces 2011 River Run

Summer is in the air, and with that Leftover Salmon is pleased to announce three special shows at some of the most cherished and unique venues Colorado has to offer. On June 10th & 11th, Leftover Salmon performs a two night run in the Poudre Canyon at the newly owned and operated Mishawaka Amphitheatre in Bellvue, CO.

On June 12th the festivities travel to the new State Bridge Amphitheatre in Bond, CO to honor & revisit a celebrated tradition. This intimate venue on the Colorado River holds a considerable amount of history in the Colorado music scene and was the site of many memorable LOS shows in the group’s early years. A devastating fire took the property in 2007, but the revered venue will return this summer. Leftover Salmon is honored to be performing the Grand Re-Opening Party at The New State Bridge Amphitheatre.

Fan ticketing on sale date for all shows is Saturday April 2nd.  Public on sale for State Bridge is Monday April 4th and Mishawaka Amphitheatre is Wednesday April 13th.

Tapes N' Tapes at the Fox Theater

Tapes ‘n Tapes is a rock band from Minneapolis, MN, made up of Josh Grier on guitar and lead vocals, Matt Kretzmann on keys and horns, Erik Appelwick on bass guitar and backing vocals, and Jeremy Hanson on percussion.

Grier said he formed the band in 2003, to “have fun with my friends.  I always wanted to see if I could play music with others and for others.”   Grier and his buddies amassed “tapes ‘n tapes” of noodling, experimental jams and declared themselves officially a band.

In the winter of 2004, the band now known as Tapes ‘n Tapes bought some recording equipment and headed out to a rustic cabin in the woods of Wisconsin.  They recorded their self-titled, now long out of print, seven song EP in three days.  Songs like “Beach Girls” and “50’s Parking” from the EP are still in their live set today.

Next up for the band was recording their critically acclaimed follow up, The Loon.  Appelwick recorded, mixed and produced the eleven song record with the band in one week at a friend’s home studio.  The Loon came out in November of 2005 on ibid records, and no one was ready for what came next.   People started to notice the foursome’s jangly, melodic brand of rock and the band started touring – gaining more and more attention from music critics and fans all over the world.  Even the Thin White Duke took notice.  “’Insistor’ is the first single, and it's cracking. It was a slow grower, but once that chorus digs in there's really no escape,” said Mr. David Bowie.  The prestigious XL Recordings re-released The Loon in July of 2006, the same month Tapes ‘n Tapes made their national television debut on the Late Show with David Letterman.

The band then toured around the world for the next few years- playing shows with the likes of Franz Ferdinand, Spoon, Cold War Kids, The Black Keys, Echo & the Bunnymen, and The Wrens.  In 2006 they were honored to play Reading/Leeds, and 2007 saw them rock out at Lollapalooza and Coachella.

When starting to work out songs for their follow up, Walk It Off, the band was asked who their dream producer was.  The obvious answer to them was Mr. Dave Fridmann (Flaming Lips, MGMT).  With twelve songs in hand, the band made the jaunt to upstate New York to live and work with Fridmann for two amazing weeks- one week in September 2007 to record and one week in October 2007 to mix.  However, years of touring, the political climate, and distance from friends and family had changed the band, and given them a different point of view- one that seemed to pervade their sound.  Spin praised the record saying, “the tunes are tighter and performances far more dynamic and aggressive…..they can now pull off jittery punk and understated, graceful melancholy.”  XL released Walk It Off in April of 2008, on the same day the band made their debut on Conan O’Brien.

After touring and supporting Walk It Off for the following year, it was time for a little R & R- rest and relaxation.  They purposefully took their time and tried to get back to a place where the band was fun, and not work.  They also decided to go back to their roots and do everything on their own, with no label involvement.  They cut ties with XL, and re-launched ibid records, their own label which initially released The Loon.  The brothers tapes had saved their pennies over the years and set out to make the record they’ve always wanted to make – Outside.  They wanted to record at home and self-produce, which they did over two weeks at The Terrarium in Minneapolis, MN in March of 2010.   The next step was getting the talented Mr. Peter Katis (Interpol, The National) to lend his ears to the mix.  Grier spent two more weeks in Bridgeport, CT, while Katis mixed the record to perfection.  The result is twelve songs that are playful and melodic, while also capturing the essence and energy of their live show.   Grier said, “We had a great time making Outside and we wanted our enjoyment of the process to be audible in the recording, and I think we succeeded.”  One thing is for sure, Tapes ‘n Tapes feel like they are making music for the right reasons – fun and pure love for music.  And as Grier always says, “Everything else is gravy.”  Outside will be released on January 11, 2011.

Tapes N’ Tapes

Fox Theatre

Saturday, March 5th

Doors:  8:30 pm

Show Time:  9:00 pm

All Ages

Matt White Releases "It's the Good Crazy"

On his sophomore record, singer/songwriter and piano phenom Matt White is bringing the “good crazy”—his second album is a combination of propulsive piano playing and sly lyrics that takes listeners on a wild romp through the Big Apple and beyond. It’s The Good Crazy is out now via Ryko Records.
The album is highlighted by tracks like the first single, “Falling in Love (With My Best Friend),” a pop fueled love letter showcasing Matt’s vocal range as he reaches infectious falsettos. During "She's On Fire," Matt's robust baritone takes over on the sensual and soulful slow down, while "Taking On Water" dives deep into meandering emotions with an epic melody. The resulting album is an eclectic and intoxicatingly addictive mix of sounds and passion.
Working with a dedicated team of producers, including David Baron and Henry Hirsch [Madonna, Lenny Kravitz, Mick Jagger], Matt took an old school approach to his new material.  For much of the album, Matt, Baron and Hirsch retreated to a church in Woodstock, NY to record on the same board that Led Zeppelin II was recorded on and tracking to what might be one of the last 3M tape machines left in existence.  Breaking away from modern trends, Matt recorded the entire album on analog tape, allowing any and all happy accidents to stay in the songs.
"All of the albums I love were done that way. With tape, there’s a depth in the sound wave that you can't capture digitally. There were no computers, no Pro Tools and no room for error. If I screwed up, it's on there," says Matt.
Since debuting in 2007, Matt's music has been featured in numerous films, TV shows and commercials including What Happens In Vegas, Shrek, The Third, McDonald's, The Hills, Brothers and Sisters and One Tree Hill.  The singer/songwriter has toured and performed alongside everyone from B.B. King and Sheryl Crow to John Mayer and Counting Crows.  In addition, his "Songs Of Freedom" became the theme for Gap's "Vote For" campaign, airing on a special electoral episode of The Oprah Winfrey Show.  His debut album Best Days also hit #4 on Billboard's New Artist chart and received acclaim from RollingStone and Details. Selling 400,000 digital downloads, he's cultivated a diehard fan base that has remained loyal since he first hit the music scene.

Ornette Coleman Receives Honorary Doctorate of Music from the University of Michigan

Music legend Ornette Coleman received an honorary doctorate of music from the University of Michigan in Ann Arbor.  The Department of Jazz and Contemporary Improvisation of the School of Music, Theatre and Dance congratulates Mr. Coleman on this great honor, his 80th birthday, and for being one of the most important musicians and innovators of the twentieth and twenty-first centuries.  The event also included a commencement address by President Barack Obama.

THE OFFICIAL CEREMONY TEXT

“Mr. Coleman, your performances and your path-breaking theories of jazz and music have transformed how musicians play and what listeners hear.  Your self-taught musical education blossomed into a radically novel sound, giving the world musical styles it had never heard before.  In your long career of ongoing creativity, you have played a vital role in preserving and enhancing America’s cultural legacy, and you have cultivated the talent of the future.  The University of Michigan is proud to present you with the honorary degree, Doctor of Music.”


MORE ABOUT ORNETTE COLEMAN

Ornette Coleman is a leading composer and performer of jazz, whose remarkable artistry is admired around the world.  Born in Fort Worth, Texas, in 1930, he taught himself how to play the saxophone and had formed his first band by the age of fourteen.  After touring with a traveling ensemble, he moved to Los Angeles and began to teach himself music theory while working as an elevator operator.  During this period, he performed with a rehearsal ensemble that allowed him to experiment with the new theoretical concepts he was developing.  The result of his self-study was a new freedom in jazz performance that has been described as a radically new concept and style that originated from his musical intuition, combining southwestern country blues and his own highly personal interpretations of music theory.  The compositional voice that Mr. Coleman developed in the 1950s would remain his trademark style and sound throughout his career.  The first of his many influential albums was recorded in 1958, released under the title Something Else, which launched him as a major innovator of jazz, leading to many more albums and a famous breakthrough engagement at the Five Spot Café in New York City, where he moved permanently.  His music, freed from the conventions of harmony, rhythm, and melody, both polarized and transformed the jazz community, and he devoted decades to understanding and discovering the shape of not just jazz, but all music to come.  At the core of his music is his theory of Harmolodics, which addresses the question of the sound and performance of music beyond the melody.  Beyond the twenty albums he released in the 1960s, Mr. Coleman also began to write string quartets, woodwind quintets, and symphonies based on his pioneering theories of musical composition.  His remarkable contributions to music have been recognized by a multitude of honors, including several honorary degrees, appointment as a MacArthur Foundation Fellow, induction into the American Academy of Arts and Letters, and the presentation of the prestigious Praemium Imperiale Award of the Japanese government.  In 2007 he was honored with a Grammy Lifetime Achievement Award, and won the Pulitzer Prize in Music in 2007 for his album Sound Grammar.  In 2009 he became the 16th musician in history to be presented with the Miles Davis Award, in recognition for his regeneration of the jazz idiom.  His recent 80th birthday in March was marked with a variety of tributes, from articles, to concerts, to all-day broadcasts of his music.

Karl Denson's Tiny Universe at the Fox Theatre

Like a Super Nova burning bright in the night sky comes Karl Denson’s Tiny Universe.  Based out of San Diego, KDTU began its journey in 1998 after bandleader Karl Denson decided to change gears five years after he’d help create The Greyboy Allstars. GBA had proven themselves as the ultimate party band, spreading their “West Coast Boogaloo” style all over the world, making “Jazz” a dance term once again. Karl set out to take this formula to the next level by putting more emphasis on vocals and adding some funk, r&b and hip hop elements. It turned out to be a winning combination which set KDTU on the top of the heap in the touring world from 1999 through 2005. In 2005 Karl decided to get back to his roots and work in a smaller jazzier setting.  During 2006 and 2007 Karl led KD3, a trio configuration featuring Sax, Organ and Drums. This led to the 2007 release of KD3’s  “Lunar Orbit”, an album which was a great critical success. In 2008, Karl rejoined his former boss Lenny Kravitz and spent the year country hopping through Europe and North America. In 2009 Karl went back into the studio and conjured up what is being hailed as the most soulful KDTU adventure yet, “Brother’s Keeper” which was released Sept 15th, 2009.

Thursday June 24, 9:00pm
KARL DENSON'S TINY UNIVERSE
--
All Ages / GA / $15 ADV weekend on-sale (June 4 - 6) / $20 ADV & DOS

Tickets on sale June 4 at the Fox Theatre box office | Internet 24-7 at www.foxtheater.com | Phone: During box office hours: 303.443.3399

Kate Nash "My Best Friend Is You" Out Today!

Chart toping Brit singer Kate Nash releases her sophomore album, My Best Friend Is You, today on Fiction/Geffen Records. The album was produced by former Suede guitarist Bernard Butler and recorded at RAK studios in the UK. First single “Do Wah Doo” is making a splash at radio in the U.K. and will be heard stateside soon. The video for “Do Wah Doo” can be seen now.
Kate will kick off a headlining tour starting April 26th in Toronto, Ontario at the Mod Theatre (see below for complete tour routing). SUPERCUTE! will be support on all dates. Kate had just turned 20 in August 2007 when her debut album Made of Bricks was released in the UK two months ahead of schedule due to public demand. In the summer of 2006 she was a MySpace phenomenon before she even had a record deal; 2,000 copies of her debut single, “Caroline's a Victim,” sold out upon release in February 2007; by April she had signed to Fiction Records; two months later “Foundations” reached number two in the singles chart; by August she was celebrating a number one album in the UK and in January 2008 Geffen Records released Made of Bricks to critical praise in the U.S. Kate was honored with a Brit Award, NME Award, Q Award, UK VMA, Vodafone Music Award and more and has sold over 1 million units worldwide.

Pledge to Vote & get FREE 'People Lead (live in Seattle 2007)' download

photos by Tim Hurley- for the Grateful Web

To encourage you to vote on election day, Ben Harper and the Innocent Criminals is offering up a free download of "People Lead (live in Seattle 2007)" to anyone who completes an online "Pledge to Vote" at www.HeadCount.org. To get the download, all you have to do is go here and make the pledge. History will be made on election day this year. Be a part of it and vote. 

Make The Pledge Here 

Umphrey's McGee Releases Jimmy Stewart 2007 and A New Live Series - CompendiUM

photos by Phil Emma- for the Grateful Web

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Normal 0 false false false MicrosoftInternetExplorer4 st1\:*{behavior:url(#ieooui) } /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} In June, prog-rock powerhouse Umphrey's McGee will release Jimmy Stewart 2007 - an ambitious double-live album comprised of some of the band's most inspired improvisations, sequenced into two seamless 70-minute "mixtapes."  Several times each performance Umphrey's McGee delves into the "Jimmy Stewart" creation process.  They aim to generate melody-rich, spontaneous compositions, utilizing a Zappa-inspired language of body gestures and hand-signals which allow the band to create structure on-the-fly.

As Umphrey's McGee's sound continues to evolve, each live performance is increasingly a showcase for their "Jimmy Stewart" approach to progressive improvisation, which they utilize as a breeding ground for new material. Fan favorites "In the Kitchen", "Intentions Clear", "Bridgeless", and many more have come from such sessions.  In fact, the newest original to the Umphrey's McGee live repertoire is "Waist Down", a song with firm roots in the Jimmy Stewart 2007track “Eat - 2.17.07 - San Francisco".

Umphrey's is a band always on the cusp of fresh technology and music distribution, and the trendsetting Umphrey's McGee Podcast serves up two 75-minute sets of live UM each month to its 20,000 subscribers. On June 10th, the Podcast offered it's 66th broadcast, a Jimmy Stewart 2007 companion piece of an extra CD's worth of material from the cutting room.  That past weekend weekend, a limited pressing of 2,000 Jimmy Stewart 2007 CDs were available at the Bonnaroo Music Festival, with remaining copies to be distributed at shows and though the band's online store.  Beginning June 17, the record is available digitally via iTunes and UMLive.net.

Also this month, Umphrey's McGee debut a digital-only live series called CompendiUM.  The first ten releases in this iTunes series are comprised of the band's favorite ten shows of 2007, showcasing the incredibly diverse range of the Umphrey's McGee live experience.

 
CompendiUM releases:
CompendiUM: Live in Boulder, Colorado - 03.06.07
CompendiUM: Live in Pontiac, Michigan - 03.16.07
CompendiUM: Live in Madison, Wisconsin - 03.22.07
CompendiUM: Live in Rochester, New York - 04.15.07
CompendiUM: Live in Portland, Oregon - 06.07.07
CompendiUM: Live in Portsmouth, Virginia - 06.28.07
CompendiUM: Live in Detroit Lakes, Minnesota - 07.19.07
CompendiUM: Live in Bloomington, Indiana - 11.09.07
CompendiUM: Live in Milwaukee, Wisconsin - 11.10.07
CompendiUM: Live in Chicago, Illinois - 12.30.07

Look for the band on tour this summer:
July 05 Saturday in the Park Sioux City IA
July 06 Weesner Amphitheater - Minnesota Zoo Apple Valley M
July 10 Willow Island at Alliant Energy Center Madison WI Co-Headline with STS9
July 12 Westfair Amphitheatre Omaha NE Co-Headline with STS9
July 15 Moonlite Gardens Cincinnati OH Co-Headline with STS9
July 16 Innsbrook Pavilion Glen Allen VA Co-Headline with STS9
July 17 Promowest Pavilion Columbus OH Co-Headline with STS9
July 18 The Lawn at White River State Park Indianapolis IN Co-Headline with STS9
July 19 Charter One Pavilion at Northerly Island Chicago IL Co-Headline with STS9
July 24 Roseland Ballroom New York NY Co-Headline with STS9
July 25 Festival Pier at Penn's Landing Philadelphia PA Co-Headline with STS9
July 25 Fillmore at the TLA Philadelphia PA
July 26 Bank of America Pavilion Boston MA Co-Headline with STS9
July 27 Pier 6 Concert Pavilion Baltimore MD Co-Headline with STS9
July 30 House of Blues Myrtle Beach SC Co-Headline with STS9
July 31 Koka Booth Amphitheatre Cary NC Co-Headline with STS9
July 31 Lincoln Theatre Raleigh NC
August 01-02 Masquerade Music Park Atlanta GA Co-Headline with STS9
August 09 Up North Music and Arts Festival Hiram ME
August 31 Red Rocks Amphitheatre Morisson CO With Gov't Mule
September 01 The Fox Theatre Boulder CO
September 13 Mulberry Mountain Harvest Music Festival Ozark AR
December 11-15 Caribbean Holidaze Jamaica IA

The New Mastersounds, November 16, 2007 in Denver

photos by Dieter Van Holder- for the Grateful Web

Send out the riders, the British are coming, and they're packing heat. The four lads from Leeds known as The New Mastersounds opened for J.J. Grey & Mofro, hitting the Ogden Theatre in Denver on Friday night like a punch in the face and sending the crowd home with sore muscles.

Why this four-piece funk band has not literally exploded across the music scene in America like so many WMD's is beyond me, and my only hypothesis can be that like those reclusive targets of Presidential invasion, the damn things are just too hard to find. When they decide to grace the US with their presence, The NMS tend to visit only a handful of locations, saving the bulk of their tour for venues across the pond. Luckily, they have taken to Colorado. Colorado, it seems, is also taking to them.

Not even two years ago, after opening up for the Greyboy Allstars, the band decided to play a set of its own at a smaller venue, generating little local support. The following summer proved a vast improvement, with jam band fans packing the house at the very same venue that the year before had seen less constituents than one could count on two hands. The venue on Friday night was a little bigger and thus warranted a headlining band with a little more of an established following in order to sell the tickets needed to fill the room. Or did it?

Upon entering the the 1,000+ person venue at Colfax and Ogden around 8:45, 15 minutes prior to show time, I asked one of the attendants at the door how many tickets had been sold, his response was as expected, about 600. I'll be damned if that number hadn't doubled within 30 minutes. At precisely 9:00, Eddie Roberts (guitar), Simon Allen (drums), Pete Shand (bass), and the recently added Joe Tatton (Keyboards), came out on stage firing the funk on all cylinders and didn't stop until everyone in the room was spent, nearly an hour and a half later. In short, with all due respect to J.J. Grey, of whom I am a huge fan and for whom I have the utmost respect, the opening act stole the show.

mastersoundsI had the pleasure of securing a prime piece of real estate in the orchestra section, for, having witnessed these boys in action before; I knew what was coming and wanted to assure myself of a good perch. From the first note, those of us who had seen them prior to Friday nodded in approval, turning to each other in agreement, and then to the first-time listeners around, who, mid-conversation with their neighbors, quickly fastened their gazes on the stage, mouth agape, and joined in the groove. As tunes like "Baby Bouncer," a superb rendition of the Meters's classic "Live Wire," and the fan-favorite and perennial closer, "One Note Brown," played, I witnessed more and more the Paul Newman a la Butch Cassidy-esque facial expressions and mouthed words of "Who are those guys?," understanding that as the evening pressed on, Eddie, Simon, Pete and Joe had secured more troops for their ever-growing cavalry.

To say that the band is heavily influenced by The Meters would be an understatement, but there is something about them that sets them apart. Perhaps it is Eddie Robert's incredible dexterity and precision on the guitar, reminiscent of 70's legend, Grant Green, or Tatton's gritty Hammond B3, or Simon's clever introductory remarks made moreso by that delightful Northern English accent, or Shand's utter coooool-ness onstage, or perhaps it is the fact that it is so surprising to hear black music that would make George Clinton himself pause and listen, emanating from the instruments of mostly white players. Furthermore, it would be short-sighted for one to discount the impression a band makes on its audience when it is evident that when they are playing, they are having so much fun they almost look mischievous.

Whatever these fellas are selling, I'm buying it, and I promise you, there is going to be a long line at the store.

Keller's New Album '12,' Streets December 18, 2007

photo by Brent Fuqua- for the Grateful Web

Keller Williams has been called guitar's mad-scientist, a one-man band for the new millennium, and dozens of other clever sobriquets dreamed up by fans and music journalists trying to get a handle on his uplifting and ever-shifting style of music. Though Keller's music has evolved since he first started playing music over twenty years ago, some things have remained constant: Keller is a prolific artist, an exceptional guitarist, and an accomplished songwriter.  Now, Keller's twelfth album release looks back at a ground-breaking and already remarkable career.  Aptly titled 12, the album features one standout song from each of his previous eleven releases.  Keller himself dubs this his album of "hitless greatest hits." Added to the mix is one new, previously un-recorded song. While the Keller Williams adventure has only just begun, 12 is a fantastic celebration of a musical milestone.  Look for 12 in stores on December 18, 2007 on SCI Fidelity Records.

Also this fall, Keller Williams and The WMD'S will tour the east coast. The WMD'S features Williams on guitar/vocals, Keith Moseley on bass (The String Cheese Incident),  Gibb Droll on guitar (Marc Broussard), and Jeff Sipe on drums (Aquarium Rescue Unit, Trey Anastasio, Susan Tedeschi, Phil Lesh).  The WMD'S debuted at select festival performances this past summer, including an epic and electrifying Bonnaroo show.  Their November run of shows brings them to indoor venues for headlining shows. 

The complete list of Keller Williams confirmed tour dates is as follows:
November 02 Ram's Head Live Baltimore MD Keller Williams and The WMD'S
November 03 Norva Norfolk VA Keller Williams and The WMD'S
November 04 9:30 Club Washington DC Keller Williams and The WMD'S
November 06 Neighborhood Theatre Charlotte NC Keller Williams and The WMD'S
November 07 New Daisy Theater Memphis TN Keller Williams and The WMD'S
November 08 Bijou Knoxville TN Keller Williams and The WMD'S
November 09 Music Farm Charleston SC Keller Williams and The WMD'S
November 10 Talleyrand Jacksonville FL Keller Williams and The WMD'S
November 13 House of Blues Orlando FL Keller Williams and The WMD'S
November 14 Revolution Ft. Lauderdale FL Keller Williams and The WMD'S
November 15 Soul Kitchen Mobile AL Keller Williams and The WMD'S
November 16 Georgia Theatre Athens GA Keller Williams and The WMD'S
November 17 Zydeco Birmingham AL Keller Williams and The WMD'S
November 18 Lincoln Theatre Raleigh NC Keller Williams and The WMD'S
December 01 Aggie Theatre Fort Collins CO
December 13 Breezes Runaway Bay Runaway Bay Jamaica
December 28 Beacon Theatre New York NY w/ moe.
December 31 Tweeter Center Camden NJ w/ The Disco Biscuits

Keller Williams has been refining his unique kind of performance art for almost 15 years, logging over 100 gigs annually, and he's a productive recording artist as well.  His calling card?  - a creative combination of talent and technology.  Known, of course, for his astonishing one-man show, Keller Williams surrounds himself with instruments and pedals and slides from one to the next. While his songs are rooted in Williams' warm voice and spirited acoustic guitar, Keller gives them depth and breadth via looping and delay. Keller essentially accompanies himself, looping several instruments, and filling up an entire room with lush layers of sound … just one man and a humongous imagination.