studio

Colin Stetson Premieres "Stars In His Head"

Colin Stetson is a horn player of uncommon strength, skill and genre-defying creativity. He composes and performs otherworldly songs that combine a mastery of circular breathing technique with percussive valve-work and reed vocalisations, making a polyphonic solo music that combines influences as diverse as Bach, early metal, American pre-war Gospel, and the explorations of Jimi Hendrix, Peter Brotzman and Albert Ayler.

New History Warfare Vol. 2: Judges is Stetson's second solo record and his first for Constellation.  Colin has been making his mark as a staggering solo performer for several years now, in front of audiences small and large, from intimate jazz and experimental music venues to big stages, whether opening for Arcade Fire or The National, or playing at jazz and new music festivals like Moers and London Jazz. His talents have been widely recognised and employed by artists as diverse as Tom Waits, Laurie Anderson, TV On The Radio and Bon Iver.  Colin also plays in Belle Orchestre and Sway Machinery.
The music on New History Warfare Vol. 2: Judges was captured entirely live in single takes at Montréal's Hotel2Tango studio, with no overdubs or looping, using over 20 mics positioned close and far throughout the live room. Guest vocals by Laurie Anderson and Shara Worden (My Brightest Diamond) are the only exceptions to this rule, along with one brief french horn that was multi-tracked.
The Judges sessions were co-produced by Stetson and Shahzad Ismaily and engineered by Efrim Menuck at the Hotel2Tango, then taken to Greenhouse StudiosBen Frost.
The result is a highly original, experimental, euphoric record that fires on all levels: a document of an astoundingly strong and gifted player; a compositional tour-de-force; and a studio production bursting with intensity and inventiveness.

New History Warfare Vol. 2: Judges features cover art by Tracy Maurice and will be issued on CD in custom 100% recycled paperboard gatefold jacket and on 180gLP with a limited edition screenprinted poster contained in the first pressing. The album will also be available digitally.
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North American Tour Dates:
2/03 - The Stone - New York NY
2/5 - Le Cercle - Quebec, QC w/Tim Hecker
2/10 - La Sala Rossa - Montreal, QC w/Tim Hecker
2/17 - The New Musuem - New York, NY

Jake Hertzog New CD + Miles Café Appearances

Jake Hertzog, one of the most original and exciting young guitarists on the scene, will be returning to the studio next month to record his third album. At 24 years old, Jake has already released two critically acclaimed fusion albums, toured the country as bandleader for Nickelodeon pop-stars Nat and Alex Wolff, and currently writes a jazz column for Guitar Player Magazine entitled “Hey Jazz Guy”.  He was also the youngest ever winner of the Montreux Jazz Festival Jazz Guitar Competition in 2006 and has performed and taught worldwide.

The upcoming record, a follow up to last year’s Patterns, will feature Jake’s all-star rhythm section, Victor Jones and Harvie S.  Harvie will also be taking on a new role in addition to bassist on this latest project as producer. “I am thrilled to be producing Jake Hertzog's upcoming CD- Jake is a serious and original artist who is becoming a major voice in contemporary music. I have been a part of his music from his first project as bassist and musical colleague --so this project holds special meaning for me.” Said Harvie, in regards to the upcoming collaboration.  In addition to hundreds of records on which Harvie has played bass, his production credits include Michael Brecker, Phil Woods, Chris Potter, Bob Mintzer, and Mike Stern.


Jake will be bringing his trio into one of New York’s most impressive recording studios, The Magic Shop, that has hosted artists such as The Rolling Stones, Coldplay, Norah Jones and Arcade Fire.  “It’s the perfect place for the synthesis of jazz and indie rock”, says Hertzog. “That’s what this record will be all about, continuing more deeply in the direction of the last two albums.”  The Jake Hertzog Trio will be in the studio next month and the record will be released in late spring.

Performing with the venerated rhythm section of Harvie S (bass) and Victor Jones (drums) the Jake Hertzog Trio bends genres with their exhilarating live performances. This is an event not to miss, as the band prepares for their third studio album.

Jake Hertzog Trio with Harvie S (bass) and Victor Jones (drums)

The Miles Café Jazz Club
212 E. 52nd St. 3Fl.
(b/t 2nd & 3rd Ave.)
New York, NY 10022

Friday, Feb. 4th - 7:30pm

Friday, Mar. 4th - 7:30pm

Band of Heathens new CD is 'Top Hat Crown & the Clapmaster's Son'

2010 was a year of making noise and news for the Band of Heathens. With 200-plus show dates, a fifth anniversary celebration, appearances at Lollapalooza and other top national festivals and a taping of Austin City Limits with Elvis Costello, it is remarkable that the Heathens even found time to write and record a new studio album, but they did.

The result is Top Hat Crown & the Clapmaster’s Son, a surprising, multi-faceted gem of a disc. Their third studio album and the fifth release overall, Top Hat Crown displays the wide range of classic influences fans and critics have come to admire in the band, yet they’ve added, built and grown. Producer George Reiff, celebrated for his work with the Black Crowes’ Chris Robinson, the Courtyard Hounds (Martie Maguire and Emily Robison of the Dixie Chicks) and Ray Wylie Hubbard, tended to the album’s vibe and spirit, which is reaching, rocking, bluesy, funky and enjoyable as hell, from its rocking opening to its serene acoustic conclusion.

The Band of Heathens is constantly being compared to The Band because of the musical finesse that overlays their timeless, rootsy core. And the three founding members are all skilled multi-instrumentalists who can play almost any position in the field. But TBoH has reached so many fans so fast because of the echoes of and subtle homage to so many different artists at the core of the Americana canon, including Tom Petty, Tony Joe White, the Grateful Dead, Leon Russell, George Harrison, and other rarified stylists. You can hear a little of all that at a Heathens show or on disc, and Top Hat Crown feels like the most coherent and mature encapsulation of those elements so far.

Given the timelessness of their sound, one gets the sense that Ed Jurdi, Gordy Quist and Colin Brooks would have gravitated toward the same essential feel had they met in 1975 or 2045. As it happens, it was in 2006 after each songwriter had established residency gigs on the same night of the week at Momo’s, an eclectic-minded club on Austin’s famous Sixth Street. Friendship, semi-regular sit-ins and harmony jags gelled into something quite rare: a band with three frontmen, each with enough humility and passion to invest in the larger project. The sum transcended the parts. Bassist Seth Whitney was a member from the get-go. Drummer John Chipman joined in 2007 as their road calendar got heavier.

The Heathens took their time getting their first studio album out, but when that eponymous debut was released in 2008, they proved they could write and record a coherent statement that measured up to their show. They followed relatively quickly with One Foot in the Ether toward the end of 2009. Both shot to the top of the Americana chart and remained there for months, evincing a longevity rare in any format of music. Each added songs to the band’s set lists that have become staples and favorites: “Jackson Station,” “Cornbread,” frequent set closer “Don’t Call on Me” and the rocking, cathartic “L.A. County Blues.”

Other kinds of recognition and respect rolled in. TBoH was honored as Best New Band at the Austin Music Awards and nominated as Best Duo or Group by the Americana Music Awards. The Wall Street Journal’s Jim Fusilli called theirs the best set he saw during South by Southwest 2009. And the rest of the press has been equally effusive: The Dallas Morning News calls them “a must-see show.” Maverick magazine says they’re “magnificent.”

One can anticipate similar praise for Top Hat Crown, as it stretches without breaking faith with the feel and integrity that got the Band of Heathens this far. Opener “Medicine Man” sets a hoodoo tone with slappy upright piano and a swaggering lyric sung by Gordy Quist.

Another early Quist lead is “Polaroid,” which the guys say was influenced by the Jayhawks and mid-career Beatles. It coasts along on a robust acoustic strum decorated by jangly chiming electric guitar — a pluperfect fusion of pop and roots. Ed Jurdi gets his first lead vocal licks in with “Should Have Known,” a deeply bluesy slow shake that bolsters the regret of the song. Colin Brooks evokes current events and the craziness of modernity with “Enough,” whose mantra-like lyric and mid-tempo groove will have people nodding along in time. Brooks also shines with his lead on “Gravity,” a tour-de-force of forward motion and organ-generated psychedelic colors. Then some bone-rattle percussion ushers in a glowing, single-chord jam ride and a three-part chorus that swells with love.

Fans of the band will note one familiar song here. “Free Again” was written, recorded and released as a single in a blast of energy in the summer of 2010, inspired by the mind-boggling Gulf of Mexico oil spill. It’s sincere and sarcastic, playful and chastising. And it’s part of a Louisiana theme that closes out the album and ties the whole project together. “Hurricane,” the album’s lone cover, a Nashville-written tune from an old Levon Helm album, is a poignant portrait of an aging Gulf Coast salt reflecting on storms and eerily anticipating Katrina. And “Gris Gris Satchel,” the final cut, is a gorgeous and soothing acoustic tune that evokes old New Orleans and memories of great Crosby, Stills & Nash tracks.

Like that historic group, the Band of Heathens is distinguished by collaboration and load-sharing. And while songwriting and vocal duties are chiefly handled by the three guys across the front of the stage, they are decidedly a five-man band, benefitting from the equal input of all. This can lead to a lot of deliberation and creative tension. But it also means the music that emerges has been through five filters and enjoyed the collaborative creative power of five music-loving minds. “When I write a song with Ed or Colin, I usually hear it a certain way in my head,” says Quist about the power of the process. “When we bring it in to the band, the song almost always comes out turned on its head, leaning in another direction from where it started.” Music fans nationwide will hear that distilled quality upon the release of Top Hat Crown.

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TOUR DATES:

Thurs., March 3  ANN ARBOR, MI
Fri., March 4  CHAMPAIGN, IL
Sat., March 5  ST LOUIS, MO
Fri., March  11  SAN ANTONIO, TX
Sat., March 12  DALLAS, TX
Tues., March 15  AUSTIN, TX (SXSW)
Sat., March 19  HOUSTON, TX
Tues., March 29   DENVER, CO
Wed., March 30   ASPEN, CO
Thurs., March 31   PARK CITY, UT
Fri., April 1  BOISE, ID
Sat., April 9  SANTA CRUZ, CA
Sun., April 10  SAN FRANCISCO, CA
Mon., April 11  FOLSOM, CA
Tues., April 12   BAKERSFIELD, CA
Wed., April 13   LOS ANGELES, CA
Thurs., April 14  PHOENIX, AZ
Sun., April 17  DRIFTWOOD, TX

Slightly Stoopid Announce East Coast Dates w/ Fishbone

Following their hugely successful and critically acclaimed Cauzin' Vapors... Legalize It 2010 US amphitheater tour with Cypress Hill, Steel Pulse, and Collie Buddz (where the band headlined to anywhere from 5,000 - 20,000 of their most loyal fans), San Diego-based dub/rock/psychedelic-jam phenoms Slightly Stoopid are gearing up for a run of one-off headlining shows where they'll be performing two nights at the legendary 9:30 Club in Washington, DC, as well as one night each at New York City's Hammerstein Ballroom, and the House of Blues in Atlantic City, NJ. The band will be taking along friends and legends Fishbone and Ivan Neville's Dumpstaphunk as support for the quick run of dates.

Slightly Stoopid have spent the past few months recording and collaborating in their band-built San Diego studio with the likes of Cypress Hill, G Love, Don Carlos, Barrington Levy, The Neville Brothers and more, in preparation for their upcoming full-length release, as well as other studio projects due out 2011 - 2012, and recently released the remix of hit song "No Cocaine" (from the band's celebrated 2008 album Slightly Not Stoned Enough to Eat Breakfast Yet Stoopid), featuring legendary reggae star Capleton, out now on Hi Grade Ganja Anthems 3.

Slightly Stoopid Live!

w/ Fishbone and Ivan Neville's Dumpstaphunk
2/16 Washington, DC 9:30 Club
2/17 Washington, DC 9:30 Club *
2/19 New York, NY Hammerstein Ballroom
2/20 Atlantic City, NJ House of Blues

* No Ivan Neville's Dumpstaphunk

The Heavy Pets Head South for Winter Tour

The Heavy Pets self-titled release was ranked in the top 10 studio albums of the year by the Huffington Post in 2010. The honor comes at the end of a highly successful year that saw both a new studio release and matching Vinyl album. The Heavy Pets will launch their first tour of the year on January 22nd with plans for an acoustic album later in 2011.

2010 was an extraordinary year for the Heavy Pets. The five piece band released their first studio recording (and coinciding vinyl album) since 2007 with burgeoning record label and Management Company, 102 Degrees. The highly acclaimed album has already received rave reviews across the nation in its short time on the market and with ample airplay the band is posed to reach great heights in 2011.

The project will set sail on their first tour of the year beginning on January 22nd including stops in Raliegh, Charleston, Poughkeepsie, Albany, Syracuse, Philadephia, New York City among others before returning to their home stomping grounds in sunny Florida.

For more information about the Heavy Pets or for ticket information check out www.theheavypets.com.  The shows will also be available for purchase from www.livedownloads.com and www.digitialsoundboard.net

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The Heavy Pets Tour Dates:

01/27/11 - Old School Square, Delray Beach, FL

01/28/11 - Skippers Smokehouse, Tampa, FL

02/24/11 -The Pourhouse, Charleston, SC

02/26/11 - The Pour House, Raleigh, NC

03/01/11 - The Mug at Vasser College, Poughkeepsie, NY

03/03/11 - Jillians, Albany, NY

03/04/11 - Java Barn, Canton, NY

03/10/11 - Wescott, Syracuse, NY

03/12/11 - The Matterhorn, Stowe, VT

03/17/11 - M Room, Philadelphia., PA

03/18/11 - Brooklyn Bowl, Brooklyn, NY

Old 97's @ Boulder Theater | 1/27/11

Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a trail through alt-country and power-pop, led by the piercingly observant lyrics of lead singer Rhett Miller. Each new Old 97's record is hotly anticipated, and rightfully so: "Blame It On Gravity," from 2008, contained some of the band's most deeply felt and passionately played songs. But in a career full of high-water marks, "The Grand Theatre Volume 1″ is perhaps the most ambitious and accomplished set of recordings yet.

The album, the band's eighth, began to come together last year, when Miller was on a solo tour of Europe with Steve Earle. "When I started in this band, I wrote on the road constantly," Miller says. "But I was 23 then, so everything was new to me. Over the years, those strange and wonderful things have begun to feel more commonplace. On the familiar highways, in familiar hotels, it's pretty easy to turn into a zombie. But on this tour, I was in England and Ireland and Scandinavia, places where I haven't spent very much time in, and because of that things seemed somehow fresh. I felt recharged."

The result was a set of songs rooted in specific locations. "The title track, which I wrote in Leeds, is like a series of postcards that try to capture the moment of falling in love; it begins in the Grand Theatre, which is a historic venue there, on the elevator. There's another song, "Every Night Is Friday Night (Without You)," that I wrote, or at least started to write, while I was walking around in Soho. And a song like "The Dance Class" wouldn't have happened if I wasn't in Birmingham, trapped in a hotel, looking out at streets that were bleak and gray except for a dance studio across the way. I imagined an agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by her." Miller's portraits of love and loneliness are paired with some of the sharpest music the band has ever produced, from the propulsive celebration of "Every Night Is Friday Night (Without You)" to the manic (and almost panicked) energy of "The Dance Class."

More Info / Buy Tickets

Jake Hertzog Returns to The Iridium Jazz Club

Jake Hertzog is one of the most original and exciting new guitarists on the scene. Performing with the venerated rhythm section of Harvie S (bass) and Victor Jones (drums) the Jake Hertzog Trio bends genres with their exhilarating live performances.  Appearing at what has become their New York home, The Iridium Jazz club, this is an event not to miss, as the band prepares for their 3rd studio album to be released this spring.

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Jake Hertzog @ The Iridium Jazz Club | 1/8/2011

The Iridium Jazz Club
1650 Broadway (at 51 St.)
Saturday, January 8th Midnight Set

Melissa Nadel @ The Blue Note | 12/25

An angelic voice and impressive talent, singer/songwriter Melissa Nadel, will be returning to the Blue Note stage to perform on Saturday night, December 25th at midnight.  Bring your family and friends after your holiday festivities to top off the night.  She will be debuting some new material of hers, and there will be a few Christmas surprises for you as well.. it's a show not to miss!

Melissa is a young, exciting artist who infuses Jazz and Pop to create a genuinely refreshing and original sound.  Her style is versatile and tasteful.  Whether she's behind the piano accompanying herself or center stage fronting her band, her live performances are engaging and filled with emotion.  Her debut CD, WHAT MATTERS, co-produced by Charles Fambrough and herself, is available on iTunes, CDBaby, and Amazon, etc.  It is also being distributed in Japan through Vivid Sound Corporation and receiving great reviews.  Melissa is currently preparing to get back into the studio to begin working on her highly-anticipated second album.

TURDAY NIGHT, DECEMBER 25 @ MIDNIGHT
LATE NIGHT GROOVE SERIES
BLUE NOTE JAZZ CLUB
131 W. 3rd Street
New York, NY 10012
Reservations Recommended
212.475.8592
$12

Melissa Nadel - vocals/piano
Patrick Firth - piano
Brian Killeen - bass
Adam Stoler - guitar
Jordan Perlson - drums

Stockholm Syndrome @ the Fox Theatre | 2/26/11

Bill Bass & Boulder Weekly are proud to present Stockholm Syndrome at the Fox Theatre on Saturday, February 26th.

Stockholm Syndrome is made up of an all-star cast. When Widespread Panic bass player Dave Schools and acclaimed singer/songwriter Jerry Joseph of the Jackmormons decided to collaborate, each initially thought the side project would be a cool, if temporary, change of pace. With one studio album released, a new studio album set for release in early 2011 and multiple tours behind them, Stockholm Syndrome has transcended being just a side project. Stockholm Syndrome is a band.

The band’s unusual choice for a name, Stockholm Syndrome, refers to the psychological phenomenon in which a hostage bonds with his kidnappers. It seemed an apt moniker for the pair’s somewhat convoluted relationship. Now all Schools and Joseph needed was a band.

They put together their “Dream Team” including Eric McFadden (a San Francisco-based guitarist who has worked with Keb Mo’, Les Claypool and George Clinton’s P-Funk All Stars), Danny Louis (an Upstate NY based keyboard virtuoso widely known for his role in Gov’t Mule and Cheap Trick) and drummer Wally Ingram (an L.A.-based drummer who has worked with Jackson Browne, Sheryl Crow, Tracy Chapman and David Lindley). All three musicians were on board and are now back for more live dates, an in-store recording for release and a pending studio album.

Stockholm Syndrome is ready to serve up its potent brew of provocative songs and thrilling, genre-transcending musicianship to worldwide audiences. Schools is already contemplating the future, “We’ll take it as far as it wants to go. I think that everyone is really enjoying playing together…it ceased to be a recording project and became a band.”

There aren’t many bands with the ability to hit the ground running the way Stockholm Syndrome did. And now that they’re launched, they show no sign of slowing down soon.

Check out Stockholm Syndrome Online:

Old 97's w/ Langhorne Slim @ Boulder Theater

Since the Old 97's roared out of Dallas more than fifteen years ago, they have blazed a trail through alt-country and power-pop, led by the piercingly observant lyrics of lead singer Rhett Miller. Each new Old 97's record is hotly anticipated, and rightfully so: "Blame It On Gravity," from 2008, contained some of the band's most deeply felt and passionately played songs. But in a career full of high-water marks, "The Grand Theatre Volume 1″ is perhaps the most ambitious and accomplished set of recordings yet.

The album, the band's eighth, began to come together last year, when Miller was on a solo tour of Europe with Steve Earle. "When I started in this band, I wrote on the road constantly," Miller says. "But I was 23 then, so everything was new to me. Over the years, those strange and wonderful things have begun to feel more commonplace. On the familiar highways, in familiar hotels, it's pretty easy to turn into a zombie. But on this tour, I was in England and Ireland and Scandinavia, places where I haven't spent very much time in, and because of that things seemed somehow fresh. I felt recharged."

The result was a set of songs rooted in specific locations. "The title track, which I wrote in Leeds, is like a series of postcards that try to capture the moment of falling in love; it begins in the Grand Theatre, which is a historic venue there, on the elevator. There's another song, "Every Night Is Friday Night (Without You)," that I wrote, or at least started to write, while I was walking around in Soho. And a song like "The Dance Class" wouldn't have happened if I wasn't in Birmingham, trapped in a hotel, looking out at streets that were bleak and gray except for a dance studio across the way. I imagined an agoraphobic who sees a beautiful girl in that studio and fantasizes about being freed by her." Miller's portraits of love and loneliness are paired with some of the sharpest music the band has ever produced, from the propulsive celebration of "Every Night Is Friday Night (Without You)" to the manic (and almost panicked) energy of "The Dance Class."

More Info / Buy Tickets