sessions

The Disco Biscuits Release Latest Studio Album – Otherwise Law Abiding Citizens

Released exclusively at Camp Bisco as the gates opened on Thursday, the Disco Biscuits' latest studio album - Otherwise Law Abiding Citizens - features the studio incarnations of many of the group's live show fan favorites in addition to some of the band's latest material.

Advance copies of Otherwise Law Abiding Citizens were sold to eager fans as they waited in line to enter the sold out Camp Bisco X. Copies were available throughout the weekend at the festival merch tent and at meet and greets with the band members. The band’s annual, 3-day, namesake festival saw a maximum capacity crowd of 25,000 on hand to witness the surprise release, which served to commemorate 10 years of Camp Bisco.

Fresh off of a high-energy tour in the fall of 2010, The Disco Biscuits recorded Otherwise Law Abiding Citizens in short order at Studio 4 in Conshohocken, PA with Grammy Award-winning producer Phil Nicolo, whose credits include projects with Billy Joel, Yoko Ono, Bob Dylan, Aerosmith and Dave Grohl. In contrast to the 3-year Planet Anthem album process, the band committed to finishing their latest release in just two weeks last November. The album was produced by The Disco Biscuits with additional production by Twisted Records’ Benji Vaughan.

By entering the studio on the heels of a powerhouse tour, the Otherwise Law Abiding Citizens album sessions were a return to The Disco Biscuits’ live roots. The result is an album that feels as eclectic and energetic as one of the band’s signature live shows. The tracklist – which is a collection of the group’s live show fan favorites in addition to some of the band’s latest material – is a further testament to this concept.

The album art, including a poster insert, features “mug shots” of the band, their management, crew, friends and fans. The photos were taken by Jesse Borrell and his NoCoast.tv colleagues, who also had access to capture the experience of the album recording sessions in a documentary. Backdrops were set up at Denver’s Ogden Theatre as well as at the famed Red Rocks Amphitheatre to capture the photos during the 3-day Colorado run over Memorial Day weekend 2011.

Otherwise Law Abiding Citizens is now available in high quality 320 kbps mp3, flac, or Apple lossless for only $4.99, and is available for free in 128 kbps mp3 at discobiscuits.com. The album is also available on iTunes.

Tony Bennett's 'Best of the Improv Recordings' coming on Concord

In the decade between the end of World War II and the advent of rock ’n’ roll, Tony Bennett emerged as one of the premier pop singers of his generation — the heir apparent to figures like Frank Sinatra, Bing Crosby, and other iconic balladeers whose versatile and engaging vocal styles had already translated to huge successes in the 1930s and 1940s.

Despite his popularity in the postwar era, though, Bennett had grown restless by the 1970s. The time had come for him to explore something new, preferably on his own terms, and in an environment of his own making. After more than 15 years on Columbia and a short stint at MGM Records, Bennett struck out on his own and launched Improv Records, a label that lasted only a couple years but generated several fine recordings during the mid-1970s.

Concord Records gathers 16 tracks from his brief period on Improv into a single collection, Tony Bennett: The Best of the Improv Recordings. The compilation, which is culled from the four-CD boxed set, Tony Bennett: The Complete Improv Recordings, is set for release on July 12, just three weeks prior to Bennett’s 85th birthday.

“These tracks capture the moment in Tony Bennett’s career when he had complete artistic freedom,” says Nick Phillips, Vice President of Catalog and Jazz A&R at Concord Music Group. “As the head of his own label, he was the person who was calling all the shots and running the show. He was free to record what he wanted to record — music that was really important to him and resonated with him . . . I think the results are nothing short of stellar.”

Will Friedwald, who wrote the liner notes for the collection, admits that Improv was short-lived and not a commercial success, releasing about ten albums before shutting its doors after only two years. However, the period was an artistic high mark in Bennett’s overall career.

“Tony Bennett’s own recordings for his label would fall roughly into three categories,” says Friedwald. “Orchestral sessions with his regular musical director at the time, Torrie Zito; quartet sessions with the Ruby Braff-George Barnes Quartet; and most famously, duet sessions with pianist Bill Evans.” Each of these categories is well represented in this collection.

Despite the label’s less than stellar commercial performance during its short existence, says Friedwald, “the Improv sessions would result in some of the most amazing music of Bennett’s career.”

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TRACK LIST:

This Can’t Be Love
Make Someone Happy
Isn’t It Romantic?
Life Is Beautiful
Blue Moon
Thou Swell
You Don’t Know What Love Is
My Romance
The Lady Is a Tramp
You Must Believe in Spring
Reflections
I Could Write a Book
Maybe September
As Time Goes By
While We’re Young [live]
I Left My Heart in San Francisco [live]

David Bromberg's USE ME Tapes Friends

When David Bromberg, one of America’s finest roots musicians, emerged from a recording hiatus of 17 years with the solo, acoustic, traditional folk-blues album Try Me One More Time (Appleseed, 2007), fans and critics were thrilled, and the CD was rewarded with a Grammy nomination. For his follow-up album, Use Me, Bromberg chose a different approach: Why not ask some of his favorite singer-songwriters and musicians to write (or choose), produce, and perform on songs tailored to his versatile but distinctive skills as a guitarist and vocalist?

Answering David’s call were well-known artists from the many genres comprising the amorphous “Americana” musical category. Representing contemporary rootsy singer-songwriters: John Hiatt, the first musician Bromberg approached, who penned the pensive “Ride On Out a Ways” for him; for New Orleans “fonk,” Dr. John; there’s three-guitar jam band interplay with Widespread Panic and jug band music with Levon Helm (the sprightly “Bring It With You When You Come,” produced by Grammy-winning Larry Campbell). Linda Ronstadt puts in a rare appearance on a soulful Brook Benton ballad, Los Lobos contribute a Mexican-flavored waltz, Vince Gill and Tim O’Brien take care of the country and bluegrass quotient, Keb’ Mo’ brings the blues, and the hitmaking Butcher Brothers, producers Phil and Joe Nicolo (Bob Dylan, John Lennon, Cypress Hill, Nine Inch Nails), provide the languid R&B groove for the title song, a cover of Bill Withers’ classic “Use Me.”

The resultant album is due for July 12, 2011 release on Appleseed Records. A national tour will ensue.
Standout tracks change with each listening, but some of the high points include the crisp blues shuffle “Tongue,” the album’s lone Bromberg original, with Levon Helm on drums; “You Don’t Wanna Make Me Mad,” featuring David on slide guitar and Dr. John on piano; the ominous slow blues “Diggin’ in the Deep Blue Sea,” updated by Keb’ Mo’ and Gary Nicholson from Larry Davis’ “Texas Flood” to address the dangers of offshore drilling, and the chipper Vince Gill — Guy Clark co-write “Lookout Mountain Girl,” the only song on which David cedes most of the lead guitar duties (to Vince, although David splits the lead with Widespread Panic’s Jimmy Herring on “Old Neighborhood”).
Rather than collating individual instrumental parts literally phoned in to a central location, the recording sessions for Use Me generally took place on each guest artist’s home turf — in Woodstock (Levon Helm), New Orleans (Dr. John), Nashville (John Hiatt, Tim O’Brien, Vince Gill), Los Angeles (Los Lobos), and so on, to retain their regional flavors. For Bromberg, who started his professional career as an accompanist for everyone from Dion and Jay and the Americans to Bob Dylan and Willie Nelson, the sessions were simultaneously a throwback to his sideman days and a sidestep from his own recordings. “As artist and producer, I get to completely mold my vision of how the song should go,” he explains. “The drawback is that I don’t get many ideas that are not my own. It was fascinating for me to see the different approaches that everyone used in production.”
No matter who the producers, songwriters or accompanying musicians are on Use Me, Bromberg’s expressive guitar-playing and “rippling Fred Neil-like baritone that . . . brings warm, reassuring comfort” (Rolling Stone) remain the centerpiece of the CD, diamonds in golden settings.
Born in Philadelphia in 1945 and raised in Tarrytown, NY, “I listened to rock ’n’ roll and whatever else was on the radio,” says Bromberg. “I discovered Pete Seeger and The Weavers and, through them, Reverend Gary Davis. I then discovered Big Bill Broonzy, who led me to Muddy Waters and the Chicago blues. This was more or less the same time I discovered Flatt and Scruggs, which led to Bill Monroe and Doc Watson.”
Bromberg began studying guitar when he was 13 and eventually enrolled in Columbia University as a musicology major. The call of the Greenwich Village folk scene in the mid-’60s drew David to the downtown clubs and coffeehouses, where he could watch and learn from the best performers, including primary sources such as his inspiration and teacher, the Reverend Gary Davis.
Bromberg’s sensitive, blues-based approach to guitar-playing earned him jobs playing the Village “basket houses” for tips, the occasional paying gig, and lots of employment as a backing musician for Tom Paxton, Jerry Jeff Walker and Rosalie Sorrels, among others. He became a first-call, “hired gun” guitarist for recording sessions, playing on hundreds of records by artists including Bob Dylan (New Morning, Self Portrait, Dylan), Link Wray, The Eagles, Ringo Starr, Willie Nelson and Carly Simon. In the early ’90s, David produced an as-yet-unreleased Dylan album, although two tracks have been issued as part of Dylan’s “Bootleg Series.”
An unexpected and wildly successful solo spot at the 1970 Isle of Wight Festival in Great Britain led to a solo deal with Columbia Records, for whom David recorded four albums. His eponymous 1971 debut included the mock-anguished “Suffer To Sing the Blues,” a Bromberg original that became an FM radio staple, and “The Holdup,” a songwriting collaboration with former Beatle George Harrison on which Harrison also played slide guitar. David, who had met the Grateful Dead’s Jerry Garcia at the Woodstock Festival when they both took refuge from the rain in a tepee, wound up with four Dead members, including Garcia, playing on his next two albums.
Bromberg’s range of material, based in the folk and blues idioms, continually expanded with each new album to encompass bluegrass, ragtime, country and ethnic music, and his touring band grew apace. By the mid-’70s, the David Bromberg Big Band included horn-players, a fiddler, and several multi-instrumentalists, including David himself. Among the best-known Bromberg Band graduates: mandolinist Andy Statman, later a major figure in the Klezmer music movement in America, and fiddler Jay Ungar (who wrote the memorable “Ashokan Farewell” for Ken Burns’ PBS documentary, “The Civil War”).
Despite jubilant, loose-limbed concerts and a string of acclaimed albums on the Fantasy label, Bromberg found himself exhausted by the logistics of the music business. “I decided to change the direction of my life,” he explains. So David dissolved his band in 1980, and he and his artist/musician wife, Nancy Josephson, moved from Northern California to Chicago, where David attended the Kenneth Warren School of Violin Making. Though he still toured periodically, the recordings slowed to a trickle and then stopped.
After “too many Chicago winters,” in 2002 David and Nancy moved to Wilmington, Del., where they currently serve as unofficial “artists in residence” and where David established David Bromberg Fine Violins, a retail store and repair shop for high quality instruments. Frequent participation in the city’s weekly jam sessions helped rekindle Bromberg’s desire to perform music “live” again, and the encouragement of fellow musicians Chris Hillman (The Byrds, Desert Rose Band, Flying Burrito Brothers) and bluegrass wizard Herb Pedersen helped nudge him back into the recording studio. The Wilmington jams also led to the formation of Angel Band, fronted by Nancy and two other female vocalists, with David frequently serving as an accompanist.
Bromberg’s participation in his local and musical community has subsequently included a fund-raising music festival (Bromberg’s Big Noise in the Neighborhood) to help renovate a local theater, and a keynote address at this past spring’s Folk Alliance International convention, a non-profit organization of musicians, concert presenters and industry professionals.
David continues his musical revitalization with projects like Use Me, playing solo shows or backed by his own bluegrass quartet and reunions of the David Bromberg Big Band. Use your ears and catch him when you can!

Other Lives Announce Dates With The National, The Decemberists

There’s no point in trying to unearth an obvious “single” in Other Lives’ second album,Tamer Animals. Here’s a better idea instead: succumb. Let every last song wash over you like proper long players once did, from the swift strings and pulsating horns— a technique learned from old Philip Glass LPs—of “Dark Horse” to the richly orchestrated denouement of “Heading East,” a cut that could have been cribbed from the early instrumental sessions of Other Lives’ old band Kunek.

“The core of that band is still with me,” says frontman Jesse Tabish, who founded Kunek with cellist Jenny Hsu and drummer Colby Owens. “In a lot of ways, it’s still what I gravitate towards, songwriting wise.”

Unlike their self-titled debut—a studio-bound effort that was produced by Beck’s longtime drummer, Joey WaronkerTamer Animals was tracked in the privacy of the band’s own space in Stillwater, Oklahoma. Waronker eventually mixed the entire affair and sanded down its edges, but it took Other Lives 14 months to get to that point. We’re not talking about lazy Sunday sessions here, either. More like 11 songs that were carefully sculpted over time, with certain sounds creeping up when the record called for them, and nothing that’s forced or rushed. “Every sound has a purpose without being too indulgent,” explains Tabish. “There’s nothing like, ‘Hey, let’s rock out on this!’ It’s homemade in a way. For better or for worse, it’s all our sound.”

That sound amounts to one hell of a sweeping listen—an atmosphere, a mood, a state of mind. So while you might find yourself going back to the minor-key melodies of “Dust Bowl III” or the Morricone-caliber arrangements of “Old Statues” more often than not, it’s all part of a greater whole. And since Tabish prefers treating his vocals like an instrument, the lyrics are left open to interpretation.

To be honest, they don’t even matter in the end. What matters is how Tamer Animals makes you feel; how it aims to hit you in the chest…hard, like the Godspeed You! Black Emperor and Sigur Rós LPs that made Tabish want to write this kind of music in the first place. (If you can believe it, he played in punk bands as a kid and didn’t resume the piano lessons he started in third grade until he was 18.)

“I’d rather us be an ensemble than a rock band,” he says. “That’s my goal—to get away from those traditional ideas. It’s not a strength in numbers kinda thing, either, where 12 people are on stage and five of them are playing the same melody. When the music calls for that many players, we’ll go there. We’ll destroy the band itself.”

He’s smiling as he says that. And frankly, so are we.

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Tour Dates

4/19/11 Cain’s Ballroom Tulsa, OK w/ The National

4/29/11 House of Blues Dallas, TX w/ The Decemberists

4/30/11 Stubb’s Waller Creek Austin, TX w/ The Decemberists

5/12/11 High Noon Saloon Madison, WI w/ S. Carey

5/13/11 The Mill Iowa City, IA w/ S. Carey

5/14/11 Slowdown Jr. Omaha, NE w/ S. Carey

5/15/11 The Record Bar Kansas City, MO w/ S. Carey

5/16/11 Hi-Dive Denver, CO w/ S. Carey

5/18/11 Club Congress Tucson, AZ w/ S. Carey

5/19/11 Soda Bar San Diego, CA w/ S. Carey

5/20/11 Velvet Jones Santa Barbara, CA w/ S. Carey

5/21/11 The Satellite Los Angeles, CA w/ S. Carey

5/22/11 Henry Miller Library Big Sur, CA w/ S. Carey

5/24/11 Café Du Nord San Francisco, CA w/ S. Carey

5/25/11 Sophia’s Thai Kitchen Davis, CA w/ S. Carey

5/26/11 Doug Fir Lounge Portland, OR w/ S. Carey

5/27/11 Panadaland Bellingham, WA w/ S. Carey

5/29/11 Sasquatch Music Festival Quincy, WA (festival)

5/30/11 The Badlander Missoula, MN w/ S. Carey

Iron & Wine @ the Boulder Theater | 06.04.11

97.3 KBCO & Z2 Entertainment are proud to present Iron & Wine at the Boulder Theater on Saturday, June 4th, 2011.

Over the course of his ten-year career, Iron & Wine’s Sam Beam has become one of today’s greatest story tellers, crafting meticulous tales full of forlorn love, religious imagery and wistful dreams.  It’s been more than three years since his last studio effort, The Shepherd’s Dog, which was widely praised by fans and critics alike. While Beam’s early albums were sparse, intimate solo affairs, Shepherd’s introduced layered textures and poly-rhythmic sounds that allowed his lyrics to spring to life. It’s only natural then, that Beam took this sonic collage and built upon it for his new album, Kiss Each Other Clean. The result is a brighter, more focused record that retains the idiosyncratic elements that make Iron & Wine such an engaging band.

Beam continued to mine folk, African, rock, country, and Jamaican musical traditions, but switched the focus of his studio lens to 60s and 70s pop influences for the Kiss Each Other Clean sessions. Mingling memories of his parents’ record collection and hits heard between the static of scanning the car radio on family drives for inspiration, Iron & Wine is once again pushed into new territory. Multi-part vocal arrangements reminiscent of Buckingham / Nicks era Fleetwood Mac albums and classic Motown singles permeate “Half Moon” and “Godless Brother.” Electronic synthesizer sounds percolate through “Monkeys Uptown” and “Glad Man Singing” recalling the adventures of Elton John and Stevie Wonder. The horn sections on “Big Burned Hand” and “Lazarus” match the confidence of Beam’s vocal delivery and bring an entirely new dimension to Iron & Wine. Kiss Each Other Clean’s dynamics and surprises are the latest chapter in Beam’s studio collaborations.

Producer Brian Deck returned for the Kiss Each Other Clean sessions, continuing the creative partnership that he and Beam have developed over the course of three albums. The comfort level and respect found between Deck and Beam allows for a unique working relationship where they push each other to experiment, while still letting the songs naturally evolve in the studio. The Shepherd’s touring rhythm section Matt Lux, Ben Massarella (Califone), and Chad Taylor (Chicago Underground Duo) arrived early for live recording of basic tracks at Chicago’s Engine Studios and overdubs continued for about a year. Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger and Sarah Simpson round out the other musicians brought into the sessions to complement and fully realize the songs on Kiss Each Other Clean.

Kiss Each Other Clean’s profound artistic statement continues to move the listener’s expectation forward with regard to what one can expect from Iron & Wine. Beam’s masterful storytelling and musical experimentation relies on the conflict from combining the happy and the sad, the heavy and the light, and creating an ongoing narrative between the artist and the listener. It’s the blending of all of these elements that allows Kiss Each Other Clean the versatility to paint a true portrait of life.

Kiss Each Other Clean was recently released on January 25th, 2011 on Warner Bros. Records.

For more information, visit www.ironandwine.com

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Tickets are on sale at Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone.

Tickets are also available through our website @ www.bouldertheater.com.

Tickets are On Sale Friday March 4th!

$32.50 adv / $35.00 dos

11th Annual NEWPORT BEACH JAZZ PARTY

Presidents’ Day Weekend, February 17-20, 2011, will again be the time for mainstream jazz lovers from around the country (& world) to arrive in Newport Beach for “Right Down The Middle And Straight Ahead” Jazz at the Marriott Newport Beach Hotel & Spa.  The party will again center on a large stage nightly at 7:00pm (Thursday at 8:00pm) with reserved seating providing a near perfect mix of concert conditions and intimacy of a club setting, all in the Grand Pacific Ballroom.

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Highlights of this 11h Annual jazz lover’s weekend –

· Thursday’s Grand Opening Night will kick off the weekend with the Ken Peplowski Quartet followed by the Larry Fuller Trio and concluding with John Pizzarelli’s Tribute to Duke Ellington- Rockin’ In Rhythm with Swing Seven featuring Jeff Hamilton.

· Friday evening will begin with an All-Star set lead by trombonist Dan Barrett and feature Claudio Roditi-trumpet, Houston Person-tenor sax, Anat Cohen-clarinet, Eric Reed-piano, Christoph Luty-bass and Paul Kreibich-drums. The second of 4 sessions will feature tenor man Scott Hamilton along with Benny Green on piano, Chuck Berghofer on bass and Lewis Nash on drums. For the first time at the party - San Francisco vocalist Kim Nalley will take the stage together with party veteran Houston Person.  Rounding out the night will be a return of the popular Jeff Hamilton Trio!

· Claudio Roditi will open Saturday night’s sessions with an All-Star group featuring Scott Hamilton, Eric Reed, Christophy Luty and Jeff Hamilton.  The second session will bring together Yellowjackets’ famed tenor player Bob Mintzer along with party favorite flutist Holly Hofmann and the rhythm section of Benny Green, Chuck Berghofer and Lewis Nash.  Set #3 will for the first time at the party feature famed lyricist Alan Bergman and bringing the evening to a close will be an All-Star set featuring Anat Cohen, Downbeat Magazine’s Annual Critics Poll Jazz Artist Rising Star together with Ken Peplowski!

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Sunday night will open with one of the most recorded drummers in jazz- Lewis Nash followed by a solo set by pianist Benny Green.  Joining Benny for the next session will be bassist John Clayton and drummer Jeff Hamilton! The third set will feature the Ken Peplowski Quartet with Tom Ranier on piano, bassist Chuck Berghofer and Jeff Hamilton on drums.  Bringing the weekend to a swingin’close will be Frank Sinatra, Jr. and his 20 piece orchestra under the direction of Terry Woodson!

· Featured at this year’s Pool Sessions (Friday, Saturday and Sunday from 12 noon until 3:30pm), among 9 great sessions, will be the latin and Brazilian sounds of the Scott Martin Band;  big band standards of the Blue Note Swing Orchestra with guest Dan Barrett;  USC Thornton Jazz Orchestra directed by Bob Mintzer;  B3 organist Atsuko Hashimoto with Jeff Hamilton and guitarist Graham Dechter and the Dave Tull Trio.  Other highlights include All-Star sets lead by Bill Cunliffe, Holly Hofmann/Anat Cohen and Claudio Roditi/Gilbert Castellanos.

· Additionally, two Champagne Brunches will be offered starring legendary trumpeter Jack Sheldon on Saturday and a return performance by the popular Barbara Morrison and Houston Person on Sunday. Also appearing at the Saturday Brunch will be the Eric Reed Trio plus Scott Hamilton and on Sunday the Adam Schroeder Quartet!

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Tickets are now available for the complete four night, three-day package including one Champagne Brunch.  Prices are $350/375. Individual reserved seats are priced at $60/$75 for evening performances and $40/50 for the Grand Opening Sessions,  $30 each  for “Friday, Saturday & Sunday By the Pool” and $50 for each Jazz Brunch. For tickets to the 11th Annual Newport Beach Jazz Party, call the Jazzline at 949.759.5003 or for complete artist appearance times and an order form visit their website.

Voice Of The Wetlands All Stars @ Boulder Theater | 2/3/11

Voice of the Wetlands was established in 2004 as a volunteer-based non-profit, focused on driving awareness and developing educational outlets/programs about the loss of the wetlands in southern Louisiana. VOW was started by musician Tab Benoit who was born and raised in Houma, LA - one of the communities born of the wetlands. Tab along with Rueben Williams and a coalition of local artists and business leaders recognized the urgency to save their homes and the culture of southern Louisiana.

Since its inception, VOW has hosted a number of efforts including an annual free, 3-day festival since 2004, and a bold initiative of taking over 50 New Orleans musicians to perform at the 2008 Democratic and Republican National Conventions. In addition, VOW has been represented to the federal government by Tab during sessions on Capitol Hill in 2008. The sessions focused on the urgency of restoring and the need to preserve the Louisiana wetlands.

Voice of the Wetlands takes an active role in driving awareness to restore the wetlands from a local to a national level. The organization prides itself in maintaining a mission that addresses all aspects, causes and solutions.



Voice of the Wetlands is the only wetlands restoration and preservation organization comprised of members who were born and raised and continue to live in the communities created from Louisiana's wetlands.

More Info / Buy Tickets

11th Annual Newport Beach Jazz Party

Presidents’ Day Weekend, February 17-20, 2011, will again be the time for mainstream jazz lovers from around the country (& world) to arrive in Newport Beach for “Right Down The Middle And Straight Ahead” Jazz at the Marriott Newport Beach Hotel & Spa.  The party will again center on a large stage nightly at 7:00pm (Thursday at 8:00pm) with reserved seating providing a near perfect mix of concert conditions and intimacy of a club setting, all in the Grand Pacific Ballroom.

Highlights of this 11h Annual jazz lover’s weekend:

Thursday’s Grand Opening Night will kick off the weekend with the Ken Peplowski Quartet followed by the Larry Fuller Trio and concluding with John Pizzarelli’s Tribute to Duke Ellington- Rockin’ In Rhythm with Swing Seven featuring Jeff Hamilton.

Friday evening will begin with an All-Star set lead by trombonist Dan Barrett and feature Claudio Roditi-trumpet, Houston Person-tenor sax, Anat Cohen-clarinet, Eric Reed-piano, Christoph Luty-bass and Paul Kreibich-drums. The second of 4 sessions will feature tenor man Scott Hamilton along with Benny Green on piano, Chuck Berghofer on bass and Lewis Nash on drums. For the first time at the party - San Francisco vocalist Kim Nalley will take the stage together with party veteran Houston Person.  Rounding out the night will be a return of the popular Jeff Hamilton Trio!

Claudio Roditi will open Saturday night’s sessions with an All-Star group featuring Scott Hamilton, Eric Reed, Christophy Luty and Jeff Hamilton.  The second session will bring together Yellowjackets’ famed tenor player Bob Mintzer along with party favorite flutist Holly Hofmann and the rhythm section of Benny Green, Chuck Berghofer and Lewis Nash.  Set #3 will for the first time at the party feature famed lyricist Alan Bergman and bringing the evening to a close will be an All-Star set featuring Anat Cohen, Downbeat Magazine’s Annual Critics Poll Jazz Artist Rising Star together with Ken Peplowski!

Sunday night will open with one of the most recorded drummers in jazz- Lewis Nash followed by a solo set by pianist Benny Green.  Joining Benny for the next session will be bassist John Clayton and drummer Jeff Hamilton! The third set will feature the Ken Peplowski Quartet with Tom Ranier on piano, bassist Chuck Berghofer and Jeff Hamilton on drums.  Bringing the weekend to a swingin’close will be Frank Sinatra, Jr. and his 20 piece orchestra under the direction of Terry Woodson!

Featured at this year’s Pool Sessions (Friday, Saturday and Sunday from 12 noon until 3:30pm), among 9 great sessions, will be the latin and Brazilian sounds of the Scott Martin Band;  big band standards of the Blue Note Swing Orchestra with guest Dan Barrett; USC Thornton Jazz Orchestra directed by Bob Mintzer; B3 organist Atsuko Hashimoto with Jeff Hamilton and guitarist Graham Dechter and the Dave Tull Trio. Other highlights include All-Star sets lead by Bill Cunliffe, Holly Hofmann/Anat Cohen and Claudio Roditi/Gilbert Castellanos.

Additionally, two Champagne Brunches will be offered starring legendary trumpeter Jack Sheldon on Saturday and a return performance by the popular Barbara Morrison and Houston Person on Sunday. Also appearing at the Saturday Brunch will be the Eric Reed Trio plus Scott Hamilton and on Sunday the Adam Schroeder Quartet!

Tickets are now available for the complete four night, three-day package including one Champagne Brunch.  Prices are $350/375. Individual reserved seats are priced at $60/$75 for evening performances and $40/50 for the Grand Opening Sessions,  $30 each  for “Friday, Saturday & Sunday By the Pool” and $50 for each Jazz Brunch. For tickets to the 11th Annual Newport Beach Jazz Party, call the Jazzline at 949.759.5003 or for complete artist appearance times and an order form visit our website.

Those wishing to have a weekend getaway may also enjoy the Marriott Newport Beach Hotel & Spa special rate of $154 per night for a standard room, $164 for Pool/Music View, $174 for Ocean Music View and $179 for Concierge. For hotel reservations call Marriott at 949.640.4000 and ask for the Newport Beach Jazz Party rate.  The Marriott  is located at 900 Newport Center Dr., Newport Beach-  10 minutes from the John Wayne/Orange County.

Voice of the Wetlands All Stars @ Boulder Theater

Z2 Entertainment is proud to present Voice of the Wetlands All Stars Ft. Tab Benoit, Anders Osborne, Cyril Neville, Big Chief Monk Boudreaux, Jumpin Johnny Samsone & Waylon Thibodeaux at the Boulder Theater on Thursday February 3rd.

Voice of the Wetlands was established in 2004 as a volunteer-based non-profit, focused on driving awareness and developing educational outlets/programs about the loss of the wetlands in southern Louisiana. VOW was started by musician Tab Benoit who was born and raised in Houma, LA - one of the communities born of the wetlands. Tab along with Rueben Williams and a coalition of local artists and business leaders recognized the urgency to save their homes and the culture of southern Louisiana.

Since its inception, VOW has hosted a number of efforts including an annual free, 3-day festival since 2004, and a bold initiative of taking over 50 New Orleans musicians to perform at the 2008 Democratic and Republican National Conventions. In addition, VOW has been represented to the federal government by Tab during sessions on Capitol Hill in 2008. The sessions focused on the urgency of restoring and the need to preserve the Louisiana wetlands.

Voice of the Wetlands takes an active role in driving awareness to restore the wetlands from a local to a national level. The organization prides itself in maintaining a mission that addresses all aspects, causes and solutions.

Voice of the Wetlands is the only wetlands restoration and preservation organization comprised of members who were born and raised and continue to live in the communities created from Louisiana's wetlands.

Marty Stuart Pays Tribute to Traditional Country Music with New Album

RAMMY-winner and American music icon Marty Stuart is set to release a traditional country album GHOST TRAIN (THE STUDIO B SESSIONS) on August 24, 2010. With his 14th studio album, Stuart steadily continues to lead the charge in preserving the roots, culture and history of traditional country music.

“What inspires me now, is traditional country music,” says Stuart.  “It’s the music I most cherish, the culture in which I was raised.  It’s the bedrock upon which the empire of country music is built, the empowering force that provides this genre with lasting credibility.  It’s beyond trends and it’s timeless.  With all that being said, I found traditional country music to be on the verge of extinction.  It’s too precious to let slip away. I wanted to attempt to write a new chapter.”
That new chapter is GHOST TRAIN (THE STUDIO B SESSIONS) which includes such unmitigated country staples as the male-female duet (the gorgeous, heartfelt "I Run to You," written and sung with Connie Smith), the chugging, bluesy—and spooky— fellow Mississippian Jimmie Rodgers-like train song "Ghost Train Four-Oh-Ten," steel guitar driven, hardcore heartbreak ballads such as "A World Without You," and "Drifting Apart,” and a no-flinching directness is front and center in the premiere of “Hangman,” a pointed, harrowing tale of an executioner's job and life that Stuart co-wrote with Johnny Cash just four days before the Man in Black passed away.
As the album title denotes, GHOST TRAIN  (THE STUDIO B SESSIONS) was recorded in the legendary RCA Studio B in Nashville, where Stuart participated in his first-ever recording session at the age of 13 playing mandolin in Lester Flatt’s band.
“Studio B has a profound pedigree; it’s where so much of American music’s legacy was forged, certainly country music’s,” says Stuart.   “And sonically, this is a room that welcomes music.  It seemed to me that in order to authentically stage a brand new traditional country music record we should bring it back to the scene of the crime.”
GHOST TRAIN (THE STUDIO B SESSIONS) TRACK LIST:
  1. Branded
    (written by Marty Stuart)
  2. Country Boy Rock & Roll
    (written by Don Reno)
  3. Drifting Apart
    (written by Marty Stuart)
  4. Bridge Washed Out
    (written by Warner Mack)
  5. A World Without You
    (written by Marty Stuart and Connie Smith)
  6. Hummingbyrd
    (written by Marty Stuart)
  7. Hangman
    (written by Marty Stuart and Johnny Cash)
  8. Ghost Train Four-Oh-Ten
    (written by Marty Stuart)
  9. Hard Working Man
    (written by Marty Stuart)
  10. I Run To You
    (written by Marty Stuart and Connie Smith)
  11. Crazy Arms
    (written by Ralph E. Mooney and Charles P. Seals)
  12. Porter Wagoner’s Grave
    (written by Marty Stuart)
  13. Little Heartbreaker
    (written by Marty Stuart and Ralph E. Mooney)
  14. Mississippi Railroad Blues
    (written by Marty Stuart)