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National Jazz Museum in Harlem May 16 - May 22, 2011

Upcoming events at the National Jazz Museum in Harlem for this week include:

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Tuesday, May 17, 2011

Jazz for Curious Listeners

Tito Puente Month: Presented by Joe Conzo and special guests

7:00 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

The Jazz Years

The 60’s saw Puente fully immersed in his passion to combine Jazz and Latin music. A passion thatwas fueled by his mentors Machito and “Hall of Famer” Mario Bauza. It had been his belief that this “marriage” could become a powerful force in music, thereby enhancing the musical experience of the listener and dancer.

He teamed up with bandleader and trombonist Buddy Morrow and began a series of recording sessions where both of them performed with two full and completely different orchestras. The project culminated in the LP recording “Revolving Bandstand” under the RCA label.

With this recording, Latin Jazz received a shot in the arm. It would have a direct affect on some of the younger musicians that would be making a name for themselves in the years to come, notably, Ray Barretto, who first played with Puente in “Dance Mania” and also recorded on the “Revolving Bandstand” sessions.

Thursday, May 19, 2011

Harlem Speaks

Bennie Wallace, Saxophonist

6:30 – 8:30pm
Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Tenor saxophonist Bennie Wallace made waves throughout the jazz world in the late 1970's with his debut recording, The Fourteen Bar Blues. Thereafter, with an unflagging respect and affection for classic jazz, he repeatedly represented his own progressive take on the music. His talent for composing and arranging music attracted the attention of Hollywood moviemakers in the late 1980's, which led him to spend nearly a decade in California composing and directing film soundtracks. Wallace's music has developed a more lyrical sense, yet his rhythms retained an authentic style that belonged uniquely to Wallace, according to critics. Winner of Germany's Deutscher Schallplattenpreis, the jazz Grammy equivalent, and a five-time winner of the Down Beat magazine award for Talent Deserving Wider Recognition, the full impact of Wallace's talent remained yet to unfold into the new century.

Born Bennie Lee Wallace Jr. on November 18, 1946, in Chattanooga, Tennessee, Wallace began playing clarinet in his youth from the age of 12 when a music teacher at his school started a jazz band and taught the group about great jazz musicians like Count Basie, Charlie Parker, and Miles Davis. Later, Wallace played in the high school band and added tenor saxophone to his teenage repertoire. Despite his youth, he learned his way around the after-hour jazz clubs even while he was still in high school in Chattanooga. During his late-night excursions, Wallace participated in jam sessions, playing bebop and blues most frequently. He went on to study music at the University of Tennessee and received a bachelor's degree in clarinet studies in 1968. After college during the mid 1970's, he did some composing for a German radio orchestra although his first love was jazz saxophone. Even during a stint in Hollywood during the late 1980s and into the 1990's, Wallace maintai ned to interviewer Zan Stewart of the Los Angeles Times that his horn remained the focal point of his music and of his life.

After his arrival in New York from Tennessee, Wallace spent 1973 studying the old jazz masters and their music to discover the essence of each, focusing heavily on Johnny Hodges and Coleman Hawkins. Yet despite his in-depth study of historical jazz, Wallace disliked repertory bands and eschewed revivalist groups equally. He remained committed to personal definition in everything that he performed. It became evident that Wallace moved in a direction different from the bandwagon that typified so many of his contemporaries, with his styles rooted more closely in the work of Coleman Hawkins than with John Coltrane. In 1985, Wallace signed with Blue Note Records. His debut album for that label, entitled Twilight Time, remained a favorite for many years

In 1991, in an unanticipated career shift, Wallace moved his residence to Pacific Palisades in Southern California to be near the Hollywood film industry as he became involved in composing for films. The opportunity came as a result of his 1985 Blue Note release, Twilight Time, which caught the ear of filmmaker Ron Shelton. Shelton requested that Wallace contribute to the soundtrack for the late-1980's film Bull Durham. Wallace obliged with "Love Ain't No Triple Play," written expressly for that movie. Also heard on the Bull Durham soundtrack was a reprise of Wallace's arrangement of "Try a Little Tenderness." Wallace went on to score the movie Blaze and served as musical director the film White Men Can't Jump.

During this time, Wallace worked extensively with pianist Tommy Flanagan in creating film music. Additionally, Wallace worked behind the scenes as a docent of pianist Jimmy Rowles after Wallace, having settled in California, contacted Rowles completely without introduction. Regardless, a comfortable relationship bloomed between the two, as Rowles mentored Wallace not only in the mechanics of playing the piano, but also in the fine points of harmony. In 1993, Wallace released The Old Songs, an album which represented a culmination of the wisdom and inspiration that he derived from Rowles. He’s now back on the East Coast, living with his wife in Connecticut.

Friday, May 20, 2011

Harlem in the Himalayas

Colin Vallon Trio

7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door | 
For tickets: RMA Box Office or call 212-620-5000 ext. 344

Colin Vallon, piano
Patrice Moret, double-bass
Samuel Rohrer, drums

Get an insight into the international sounds of cutting edge jazz with the music of this band, which belongs among the most remarkable and fascinating which the Swiss scene has to offer. The 29-year-old Colin Vallon has everything an extraordinary musician needs: brilliant technique, personal expression, a sense for perfect timing and a very individual, musical language which he creates through the unusual sounds from his prepared piano. Together with bassist Patrice Moret and drummer Samuel Rohrer, he has developed an exciting multiple stylistics based on modern jazz, but from which it steps out into all directions possible. The trio lives out its dramaturgically excellent compositions in sensitive interplay.

Saturday, May 21, 2011

Saturday Panels
A Tito Puente Celebration
12:00 – 4:00pm

Location: NJMH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Join us for an afternoon with the music of the King of Timbales, Tito Puente.

El Rey de Timbales. Tito Puente more than earned first place among modern Latin jazz musicians, working continuously from 1937 to 2000, recording over 100 albums.

Puente started his professional career as a drummer in Noro Morales’ orchestra. He played briefly with Machito’s Afro-Cubans before being drafted into the U.S. Navy, where he played in a band led by famed swing band leader, Charlie Barnet. After his discharge, Puente took advantage of the G.I. Bill to study at the Juilliard School of Music, while working with a variety of Latin bands in New York.

Puente quickly became known as a sizzling arranger. Promoter Federico Pagani hired Puente after hearing him jamming with a group of players from Pupi Campo's band, and dubbed them the Picadilly Boys. Puente subsequently moved to Tico Records and changed the group's name to Tito Puente and his Orchestra. Through numerous changes in labels and musicians, Puente has been in front of his group ever since.

Puente's fame skyrocketed when promoter Max Hyman bought the Palladium dance hall and opened it as a nightclub just as the craze for dancing the mambo and cha-cha hit in the early 1950's. He recalled nearly 50 years later:

“It was the explosion of dance. Remember, the Palladium was a big dance hall. I've always maintained that without a dance the music cannot be popular. People became aware of a new dance--the Mambo--it was ‘in’ to learn to dance the Mambo no matter what part of society you came from. And so here was a place, the Palladium, where everybody could come to dance or learn the Mambo. Dance studios sent their students to the Palladium, where they could learn and see great dancers—ballet stars, Broadway stars, expert Mambo dancers—all in one place. And I geared my music to these dancers.”

Puente rode the wave on Tico, then switched to RCA for what some consider his best albums, including Top Percussion, Dance Mania, his top-seller, and Mucho Puente. In the early 1960's, he moved from cha-chas and mambos to the new pachanga style and rejoined Tico to record Pachanga Con Puente. His 1962 descarga (Latin jam) album, El Rey Bravo debuted Puente's composition, "Oye Como Va," which later became a huge pop hit for Carlos Santana. "Every time he plays 'Oye Como Va,' I get a nice royalty check," Puente said.

Puente suffered through the boogaloo craze ("Boogaloo meant nothing to me. It stunk.") and carried on into the rise of salsa in the early 1970's. He recorded several albums in collaboration with Celia Cruz, the "Queen of Salsa." In the early 1980's, he moved into more traditional Latin jazz for the Concord label, earning a Grammy award for Tito Puente and His Latin Ensemble on Broadway. Although he was criticized for leaning on a clichéd style in his performances and material, Puente rallied again in 1991 to capitalize on the popularity of Oscar Hijuelos' novel, The Mambo Kings Play Songs of Love with the album, The Mambo King: 100th Album. It was actually something like his 112th, but who was counting at that point? Ever a trend-rider, Puente made his prime-time television debut in 1995 on an episode of "The Simpsons."

In 1997 Puente recorded 50 Years of Swing, a compilation of hits that celebrate his fifty years in the Latin music industry, and in 1999, he won his fifth Grammy for Best Latin Performance for his CD, Mambo Birdland. In the late 1990's, he was designated as a "Legend" by the Hispanic Hall of Fame, inducted to the Jazz Hall of Fame, received a star on the Walk of Fame in Hollywood, and received a Smithsonian Lifetime Achievement award. He suffered a heart attack soon after his last public appearance, in April 2000, with the Puerto Rico Symphonic Orchestra at the "Centro de Bellas Artes" in Puerto Rico.

TOWER OF POWER @ Boulder Theater | 8/7/11

Boulder Weekly & Z2 Entertainment is proud to present Tower of Power at the Boulder Theater on Sunday, August 7th, 2011.  Tickets are $30.00 and On Sale Friday, May 6th.

With 42 years of recording and touring experience behind them, Tower of Power has a new album, THE GREAT AMERICAN SOULBOOK which features covers of soul classics with guest singers Joss Stone, Sir Tom Jones, Huey Lewis, and Sam Moore.

The group still garners rave reviews, and leaves the audiences dancing in their seats in the arenas, theatres, and outdoor venues they play year 'round. Melding soul, jazz, funk, and rock in a way no group ever has, the ten-piece outfit is, according to the HOLLYWOOD REPORTER, “tighter than a clenched fist.”

The late great James Brown was quoted in HEEB magazine about Tower of Power, as saying, "There's no black group that plays my stuff as good as them."

Well known in the '70s for tunes such as “What is Hip?” and “You're Still a Young Man,” Tower of Power toured with Santana, Sly Stone and Credence Clearwater Revival, eventually creating traffic jams when they headlined their own shows. They performed on records with Elton John, Smokey Robinson, Rod Stewart, Aerosmith, and Dionne Warwick, influencing a generation of musicians (including Sting, who has told Emilio Castillo, founder of the group, that he once had a “Tower of Power clone band” before he formed The Police). In the 1980s, they backed Huey Lewis and the News, Heart, Eurythmics, and Little Feat, just to name a few.

Tower of Power, after 40 years, is experiencing more popularity than ever before as they tour year 'round packing venues in the United States, the Pacific Rim, and all over Europe.

On June 6, 2004 The California Music Association honored Tower of Power with a Lifetime Achievement Award and cited their 2003 Sony Legacy anthology “Havin' Fun” as Soul/R&B album of the year, beating out releases by En Vogue and Raphael Saadiq.

As of August 19, 2009 the group's original trumpet player Mic Gillette returns to the band reuniting with original members David Garibaldi, Emilio Castillo, Doc Kupka, and Rocco Prestia. Says Emilio, "Having Mic back in the band brings back incredible memories. His ability to play screaming lead trumpet and then switch effortlessly to trombone is world class. What an amazing brass player he is. It's just incredible that after all these years the three original horn players are back together in Tower of Power."

The band's frontman Larry Braggs is also a powerful force. Emilio, who shares frontman duties, is in awe of his singer, "with his astounding range and irresistible energy, he has a soulfulness that knows no bounds, finessing a ballad with the best of them, and then turning right around  to make it as funky as it gets. Larry's joyful spirit is undeniably contagious."

When asked to describe the band's music, the group members give a variety of responses. Says Emilio, “What Tower plays is Oakland soul music.” Former Tower saxophonist Lenny Pickett, current musical director for the Saturday Night Live band, says “TOP is the world's best rhythm and blues band.” In reality, TOP's horn-driven, in-your-face sound is all its own. Read more about Tower of Power at www.towerofpower.com.

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Tower of Power

Boulder Theater

Sunday, August 7th, 2011

Doors:  7:30 pm

Show Time:  8:00 pm

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.

Woodcock Group Debuts 'Water Stories'

Woodcock Group's trio gives jazz listeners a piece of music works that evoke a great characteristic of eloquence impressive for an artist that has not even released its debut CD to stores, until now with Sunset Jazz. This Serbian jazz trio also composes and arranges its music and every song on this ten (10) song full length CD. Woodcock Group’s new debut album, Water Stories (Sunset Jazz Recordings) gives jazz aficionados great evidence there are new music artists in jazz that can carry a wide-ranged music of original songs taken as a conceptual, the album is now available to pre order at Amazon. The Jazz label is continuing to set up the full length CD for the May 3rd street day, with its' Sunset Classics & Jazz (SC&J) division, Sunset Distribution Company and then via Republic Universal for digital distribution into stores.

Woodcock Group is a band that is no doubt aware of its mixing modern jazz with traditional jazz music influenced by, among others, Thelonious Monk, McCoy Tyner, Dizzy Gillespie, Bill Evans and Art Blakey. Born and raised in Belgrade, Serbia, in the spring of 2009 pianist and composer Aleksandar Jovanovic founded the "Woodcock Group." What is now a trio with (Aleksandar) Jovanovic, Marko Fabry is on the bass while Aleksandar Cvetkovic does the drum work on the ten (10) song CD. Their first performance was at the "Umbria Jazz Balcanic Windows" Music Festival 2009 in Belgrade, which they won in a competition winning over 28 bands from the south-eastern Europe regions. Not to mention, they were listed in the top six as best young jazz band in Eastern Europe this year. "I not only plan on using this album to springboard a new sense of direction at Sunset Jazz (Recordings)", says label head, Don Lichterman, "we are also in hope of using Alex's (Aleksandar Jovanovic) A&R chops to gain more jazz acts for the label."

The debut album being released at Sunset (Jazz) is inspired by "water" as in a state of a "form" and (Don) Lichterman says that he, "loves the concept" of it. He (Lichterman) goes on to say that he also "loves the deep traditional style of this band (Woodcock Group)." Woodcock Group's debut recording entitled, Water Stories, has already gained international radio play with "Vrelo," the first song being worked to radio this year. And the CD has received great critical acclaim after the label released its initial press to blogs and social networks. Look for the CD to be available in stores everywhere that sells cds along with being made available at every retailer that sells downloads, ringtones and streams, on May 3rd this year!

Austin City Limits 2010 part III

The last day of a festival is always bittersweet.  You get excited for the festival headliner but also deep down you wish you could replay the weekend over and over again and perhaps catch some of those bands, that due to scheduling conflicts, you painstakingly missed in the days before.

JETHRO TULL Celebrates AQUALUNG's 40th Anniversary w/ North American Tour

In celebration of the park bench, dribbly-nosed voyeur's 40th Anniversary, Ian Anderson returns to the USA with his band Jethro Tull, starting June 8 in Denver, CO and ending on the 27 in Chicago, IL.

The group features longtime members Ian Anderson (flute, vocals, acoustic guitar) and Martin Barre (guitars), Doane Perry (drums), as well as David Goodier (bass) and pianist John O'Hara.  The latter two joined in 2006 after working with Ian on some of his solo projects.

The group will be performing the Aqualung album in its entirety plus a range of their other favorites from the lat 42 years.  Critics dubbed AQUALUNG “a concept album,” particularly for Ian's critical, skeptical views of organized religion, mostly on side B ("My God," "Hymn 43"). Anderson has disputed - almost resented - the assessment seeing the record as "just a bunch of songs." This led the band to give the critics a full-blown concept album with the following studio release THICK AS A BRICK which topped the Billboard charts in 1972.

On AQUALUNG, the group explores the struggles of the less fortunate in our society (e.g., "Aqualung," "Cross-Eyed Mary," "Up to Me"). Teenage angst and formal education difficulties (e.g., "Wind Up") are explored, and Ian returns to his parental themes with "Cheap Day Return," a tune encompassing Anderson's feelings while traveling North on the train to visit his sick father. "Locomotive Breath" touches on the issues of globalization, population expansion and runaway economics. Sound familiar?

Formed in 1968, Jethro Tull released its first album THIS WAS late in that year and followed up in 1969 with STAND UP.  In the 1970s, the group was one of the most successful live performing acts on the world stage, rivaling Zeppelin, Elton John and even the Rolling Stones. Surprising, really, for a group whose more sophisticated and evolved stylistic extravagance was far from the Pop and Rock norm of that era.

With now some 30-odd albums to their credit and sales totaling more than 50 million, the apparently un-commercial Tull continues to perform over a 100 concerts per year with its rich variety and depth of expression, wherever fans, young and old, want to hear Rock, Folk, Jazz and Classical-inspired music. Music for boys in long trousers and girls with brains.

In 2011, Tull will tour in Australia, Ireland, and Germany.  And Ian will perform solo shows in Germany, Spain, Cyprus, Turkey, Brazil, Argentina, Chile, Venezuela, Panama, Mexico, Czech Republic, the UK, Sweden, Denmark and Finland finishing with his customary charity Christmas concerts at three UK cathedrals.

In 2006, Ian was awarded a Doctorate in Literature from Heriot-Watt University in Edinburgh, the Ivor Novello Award for International Achievement in Music and, in the New Years Honours List 2008, an MBE for services to music. In 2012, he expects to be awarded the Smithsonian Medal of Honor for smelling OK for someone his age and having ears still in proportion to the rest of his head. His bladder remains elastic and his prostate the size of a pinhead.

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Jethro Tull Tour Dates:

June 8: Red Rock Amphitheater, Morrison, CO
June 10: Comerica Theatre, Phoenix, AZ
June 11: The Greek Theatre, Los Angeles, CA
June 12: TBA, Valley Center, CA
June 13: The Grove, Anaheim, CA
June 14: TBA, Saratoga, CA
June 16: Cuthbert Amphitheater, Eugene, OR
June 17: McMenamins Edgefield Concerts On The Lawn, Troutdale, OR
June 18: TBA, Woodinville, WA
June 19: Centre for the Performing Arts, Vancouver, BC
June 21: Northern Alberta Jubilee Auditorium, Edmonton, AB
June 22: Southern Alberta Jubilee Auditorium, Calgary, AB
June 23: Casino Regina, Regina, SK
June 25: Orpheum Theatre, Minneapolis, MN
June 26: Chicago Theatre, Chicago, IL
June 27: Rosemont Theatre, Rosemont, IL

Ex-Kumbia Kingz / All Starz Frontmen, Ricky Rick & DJ Kane Form New Group 'LA FORMULA'

Grammy award winning artists Ricky Rick & DJ Kane, formerly members of The Kumbia Kingz and Kumbia All Starz, have united their artistic talents to form a new and much needed Kumbia Fusion group called ‘La Formula’. This dynamic duo is currently in the midst of producing and recording their debut alum also called ‘La Formula’ and which is being released on indie label, The Art Of Sound Group. The first single released off their debut album is “Contigo Me Voy”, a danceable fun track with ballad like lyrics, which was released on 1/1/11. The song is destined to become a sensational hit as its popularity with DJ’s across the country is rapidly rising causing its fast climb on radio charts and digital sales worldwide including, Asia, a usually uncharted territory. The song, written and Produced by Grammy & ASCAP Award winning production team Robert “Bobbo” Gomez III & Emilio “YEYO” Cancio-Bello, blends upbeat Kumbia beats with influences of pop, hip hop and dancehall style raggae. The video for the single was recently shot in Las Vegas, Nevada by Director Zues Ali who also directed the famous Lil Wayne Mini Movie. The video illustrates a warm tropical feel of summer, dancing and all around good time, which is in tune with the danceable rhythms set to the love story based lyrics.

This newly formed team are the creative minds behind hits like “Mami”, “Rica y Apretadita”, Por ti baby”, “Shhhhh”, “No tengo dinero” and many other international hits and came together after the recent rupture of the Kumbia All Starz (formerly known as Kumbia Kingz). It is said that necessity is the mother of invention and in the eyes of these talented artists and their innovative producers it was necessary to bring back the genre with new faces, new beats and a whole re-invention to electrify their public. When asked why they chose the name ‘La Formula’ as the name of their new band, they responded “Because putting us together was like a secret formula for great music and a new twist on the Kumbia-Pop genre”. Most recently the group was selected to perform at the prestigious SXSW Festival at the Barbella Patio Stage on Saturday, March 19th and will be performing at the Latin Billboard Conference. Together, they have sold over 20 million copies and have toured through the US, Central and South America as well as performed in major events including Premios Lo Nuestro, Latin Billboards and many more.

Art Of Sound is an indie music bi-lingual label based in Miami and headed by Grammy nominated and ASCAP award winning producer and writer, Emilio “Yeyo” Cancio-Bello. Art of Sound is based on the concept that music is the universal force that bounds cultures together and that language and geography is never a boundary for creativity.

Disco Biscuits Announce 2011 Bisco Inferno

The Disco Biscuits are pleased to announce that the Biscuits will be returning to Red Rocks Amphitheater for the third installment of BISCO INFERNO on Saturday May 28th! This year, we will lead up to the main event with two kickoff shows at the Ogden Theatre in Denver on Thursday and Friday May 26-27 - tickets for these dates will only be available as part of a three-night package.

The supporting cast at Red Rocks is in place as well! In addition to our two long Biscuits sets, we are excited to be joined first and foremost by killer dubstep DJ/producer Rusko. For fans of hip-hop, we've got Big Boi, famous for being half of the legendary ATL group Outkast. And warming up the show will be two more incredible acts Emancipator and BoomBox.

Three-day passes for all three nights of Inferno will be available exclusively at discobiscuits.com next Tuesday 2/22 at Noon MT, at the low price of $100! We will also be providing details on travel packages from CID Entertainment early next week.

Check out Grateful Web's coverage of the 2009 Bisco Inferno here, and the 2010 Bisco Inferno here.

Jethro Tull Returns to Red Rocks!

Jethro Tull and Kansas will be performing at Red Rocks Amphitheatre, 18300 West Alameda Parkways, in Morrison, CO on June 8.  The show starts at 7:30 PM.  Tickets are $49.50 and $84.50, plus applicable service fees.  The venue phone is 800-745-3000, and the website.

In celebration of the park bench, dribbly-nosed voyeur's 40th Anniversary, Ian Anderson returns to the USA with his band Jethro Tull, starting June 8 in Denver, CO and ending on the 26 in Chicago, IL.

The group features longtime members Ian Anderson (flute, vocals, acoustic guitar) and Martin Barre (guitars), Doane Perry (drums), as well as David Goodier (bass) and pianist John O'Hara.  The latter two joined in 2006 after working with Ian on some of his solo projects.

The group will be performing the Aqualung album in its entirety plus a range of their other favorites from the lat 42 years.  Critics dubbed AQUALUNG “a concept album,” particularly for Ian's critical, skeptical views of organized religion, mostly on side B ("My God," "Hymn 43"). Anderson has disputed - almost resented - the assessment seeing the record as "just a bunch of songs." This led the band to give the critics a full-blown concept album with the following studio release THICK AS A BRICK which topped the Billboard charts in 1972.

On AQUALUNG, the group explores the struggles of the less fortunate in our society (e.g., "Aqualung," "Cross-Eyed Mary," "Up to Me"). Teenage angst and formal education difficulties (e.g., "Wind Up") are explored, and Ian returns to his parental themes with "Cheap Day Return," a tune encompassing Anderson's feelings while traveling North on the train to visit his sick father. "Locomotive Breath" touches on the issues of globalization, population expansion and runaway economics. Sound familiar?

Formed in 1968, Jethro Tull released its first album THIS WAS late in that year and followed up in 1969 with STAND UP.  In the 1970s, the group was one of the most successful live performing acts on the world stage, rivaling Zeppelin, Elton John and even the Rolling Stones. Surprising, really, for a group whose more sophisticated and evolved stylistic extravagance was far from the Pop and Rock norm of that era.

With now some 30-odd albums to their credit and sales totaling more than 50 million, the apparently un-commercial Tull continues to perform over a 100 concerts per year with its rich variety and depth of expression, wherever fans, young and old, want to hear Rock, Folk, Jazz and Classical-inspired music. Music for boys in long trousers and girls with brains.

In 2011, Tull will tour in Australia, Ireland, and Germany.  And Ian will perform solo shows in Germany, Spain, Cyprus, Turkey, Brazil, Argentina, Chile, Venezuela, Panama, Mexico, Czech Republic, the UK, Sweden, Denmark and Finland finishing with his customary charity Christmas concerts at three UK cathedrals.

In 2006, Ian was awarded a Doctorate in Literature from Heriot-Watt University in Edinburgh, the Ivor Novello Award for International Achievement in Music and, in the New Years Honours List 2008, an MBE for services to music. In 2012, he expects to be awarded the Smithsonian Medal of Honor for smelling OK for someone his age and having ears still in proportion to the rest of his head. His bladder remains elastic and his prostate the size of a pinhead.

Read Grateful Web's interview with Ian Anderson.

Telepathique To Release "All Your Lovers" EP

Brazilian band Telepathique started in 2006 as a duo (dj/drummer and singer) gigging in small clubs in Portugal, where they lived at the time, and around the electonic European scene. The power of their stage performance is pushed by Myle’s (singer/synth) hypnotic-sexy melodies and lyrics and Érico’s (drums/synth) live drums among programmed beats and scratches that soon took them to share stage with artists like Massive Attack, Hot Chip, Buraka, Diplo and PJ Harvey.
Guitar/synth player Mauricio Fleury joined the band just before their first North American tour in support of their debut album “Last Time on Earth” (The Control Group).  Later that year they returned to the US to tour with Tricky to play venues like House of Blues (Chicago), Trocadero (Philadelphia), Irving Plaza (NYC), and 9:30 Club (D.C).
Now they are back with a new EP, All Your Lovers. A step in a new direction from their early tracks that were made mainly with drum programming/guitar/voice, these new songs were recorded in the studio with live drums and feel analog synthesizers. The EP was produced, mixed and mastered by drummer Érico Theobaldo.