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Infantree Instigate Cockfight in “Mourning Glory”

Three-fourths of California quartet Infantree may still be under 21, but with their startlingly sophisticated songwriting chops and lush vocal harmonies the young musicians are already composing timeless music.  Signed to Vapor Records (Jonathan Richman, Everest, Tegan & Sara), the prolific band has released both an EP and a full-length this year.  The latter of which, titled Would Work, will be re-released in early March with extra tracks and a bonus disc of video content.  Neil Young also invited the guys to perform at this year’s Bridge School Benefit alongside artists like Elvis Costello, Emmylou Harris, Modest Mouse, and Grizzly Bear.

With three songwriting members that take turns on lead vocals, Infantree have no true frontman.  As a result, their highly collaborative approach creates a unique chemistry and the details of each of their songs are masterfully tailored.  It also allows for a diverse set of influences to find their way into the band’s music.  The band weaves in sun-soaked Americana, intricate baroque pop, dreamy psychedelia, and infectious Spanish melodies, to name a few.

The group has made a video for Would Work track “Mourning Glory.”  The song slyly and seamlessly shifts between a forlorn, banjo-driven section and a wistful Latin-flavored groove.  If you haven’t seen the video yet, click HERE to watch the boys don chicken suits and duke it out in a human cockfight.

Infantree’s attention to detail covers all aspects of the band, from consistently churning out charming videos for their songs to the band name itself.  The guys explain the metaphor behind the name “Infantree” in their own words here:

"Trees are carbon dioxide reducing, erosion preventing, oxygen producing, majestic, and sturdy life-forms that grow with their environment - not in spite of it (like industrial-age humans). Infantree is a symbol for growth. Whether it be intellectual, spiritual, physical, or emotional; growth is growth. If left unchecked, exponential growth could devour prosperity as we know it. Only when it's applied within a means does growth reach it's true potential of ceaseless sustanability. Infantree applies this method by way of harmony, like-mindedness, and an articulation of each indvidual's role/capacity as a musician/human-being. At the same time the use of childlike reckless abandon seems key to wading through the water-mark left by the mainstream mindset. This dynamic has helped the members of Infantree to spread their roots as friends while simultaneously growing as a band."

Cut Copy Announce New Album, Zonoscope

Ladies and gentlemen please welcome back Cut Copy! Ever the gracious houseguests, they’re returning armed with their 3rd and most ambitious work yet, Zonoscope which will be released February 8, 2011 in North America.

Zonoscope is Cut Copy boiled down to their purest form, a suite of futuristic visions built upon primal rhythm tracks. It is at once their most immediate work to date but also their most sonically exquisite. “Take Me Over” perfectly encapsulates this, it’s chiming highlife guitars bouncing around tropical percussion reminiscent of an island holiday in a pop song.

Zonoscope was dreamt in the comedown of In Ghost Colours, the album which cemented Cut Copy as a global sensation. Their perpetual touring cycle found the band headline a stage at Lollapalooza, become the first Australian act to play Colombia since INXS, have fire marshals shut down an LA performance mid-set as crowds began to buckle the seams of the Henry Fonda Theatre and be raced to the Pitchfork Festival via police escort following a cancelled flight.

After over two years of exhilarating chaos, frontman Dan Whitford bunkered down at home to flesh out rough synth and vocal skeletons, before heading into the studio with the band to bring these textured grooves to life. Whitford describes the wonderland which he set out to create with Tim Hoey, Mitchell Scott and Ben Browning, “All the way along we had this weird vision of a tropical, jungle, tribal sound. A place or an idea that we wanted to reach with some of the songwriting; to explore a looping hypnotic trance and revise the whole palette of what Cut Copy was about.”

Recorded over a 6 month period in a warehouse space the band rented in Melbourne and mixed in Atlanta by Ben H. Allen (Animal Collective, Gnarls Barkley, Deerhunter), Zonoscope paints a mesmerizing picture, conjured by a band at the height of their powers.

You can watch the second installment of the Krozm documentary on the process of making the record, entitled "Skies of The Ape" where it premiered on SPIN or HERE. More music is revealed in this piece, which sees the band moving into their Christmas St recording warehouse, and all band members involved in the creative process.

Tapes N' Tapes at the Fox Theater

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

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

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

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

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

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

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

Tapes N’ Tapes

Fox Theatre

Saturday, March 5th

Doors:  8:30 pm

Show Time:  9:00 pm

All Ages

The Wheel - A Musical Celebration of Jerry Garcia

Save Saturday, December 4th to join the Rex Foundation at The Fillmore in San Francisco for a special night of music and connection: The Wheel - A Musical Celebration of Jerry Garcia.  Watch for the full announcement within the week, including ticket details.

There are also some great Rex Musical Caravan events taking place over the next few weeks in different cities that we hope you'll enjoy:

  • Saturday, October 23rd, The Kind Buds perform at the Iron Horse Music Hall in Northampton, Mass. Click here for event details and more information about Bud & Budd, the talented artists.
  • Saturday, October 23rd, the Reflections Band performs at Mexi Cali Live in Teaneck, NJ, once again supporting the Rex Foundation while also treating fans to their great music. Check out the details.
  • Friday and Saturday, October 29th and 30th, The String Cheese Incident will play a two-day Hulaween celebration at the Hampton Coliseum in Hampton, VA, with proceeds supporting the Rex Foundation as well as Rex grantees HeadCount and the Conscious Alliance. Here are the details.

We thank all the talented musicians for their generosity of spirit by including Rex as a charitable part of their live performances.  We welcome musicians, venue operators and others in the musical community to get on board the Rex Musical Caravan to demonstrate how music and community spirit can make a positive difference.

Speaking of music and community spirit, Jam Cruise 9 is including the Rex Foundation as part of their January 4-9, 2011 excursion.  If you have considered taking this cruise, check out what's on deck and how you can help support Rex while also enjoying a music-centered vacation.

This message reflects the ever-growing network of supportive people like you who want to be part of our philanthropic community.  Together, we are furthering what the Grateful Dead started with our major areas of work including grassroots grants, Rex Awards, The World As It Could Be Project, and other creative endeavors including our newsletters that help engender positive social change and community engagement. You make the difference in advancing this work. Check out all the different ways you can help support Rex, even getting something in return besides the satisfaction of seeing all the good that results.

Wax Fang Release New Single on Yim Yames' label

Louisville, KY’s Wax Fang share much more of a connection with My Morning Jacket than a common hometown and a penchant for playing ambitious and electrifying music.  Today the trio are releasing “The Astronaut (Part 1),a sprawling seventeen minute digital-only single, on MMJ frontman Yim Yames’ label, Removador Recordings & Solutions.  Click HERE to listen to the track, which is available for purchase now at iTunes.

Upon returning from their maiden UK tour, highlighted by an invitation from Pavement to play their All Tomorrow’s Parties Festival, Wax Fang shacked up in a makeshift analog studio in a vacant gymnasium to work on their first new material since 2007’s La La Land.  Epic in both length and in spirit, “The Astronaut (Part 1)” is the band’s most grandiose work yet.

Taking inspiration from the outer space themes of 70’s progressive rock and psychedelia, the song’s lyrics vividly guide the listener alongside a gripping journey with an astronaut lost in the cosmos.  Musically, the band is also influenced by the traditions of noisy art-rock of the 80’s and 90’s, as well as the early electronic experimentations pioneered by artists like Brian Eno.

“The Astronaut (Part 1)” is the first half of the band’s forthcoming EP, The Astronaut.  The second-half and the full EP will be released on Removador in 2011.  In the meantime you can catch Wax Fang opening for My Morning Jacket on October 29th in Louisville at the KFC Yum! Center.

Greg Lewis Upcoming NYC Appearances

New York native, keyboardist Greg Lewis, a highly accomplished mainstay on the city’s jazz, blues and funk scenes, who has earned a solid reputation for his versatile work around town in a vast variety of settings, steps out front for the first time on his debut CD Organ Monk. Lewis’ sensitive and soulful keyboard playing has made him a favorite among some of the music’s finest vocalists – including blues queen Sweet Georgia Brown, jazz and soul songstress.

Lezlie Harrison and ex-Brooklyn Funk Essentials singer/songwriter Stephanie McKay  -- and earned him a featured role on saxophonist Sam Newsome’s Groove Project recording 24/7.  Now on Organ Monk the spotlight is finally shined on his enormous talents as the leader of his own allstar trio featuring multitalented guitarist Ron Jackson and drummer extraordinaire Cindy Blackman.

Born into a musical family, Lewis’ introduction to jazz came from hearing Monk records from the collection his late father, pianist David Lewis, who was a dedicated fan of Thelonious.  “It all started there,” the younger Lewis proclaims, also naming unsung master Elmo Hope as a major influence.  Lewis started his own piano studies at the age of eleven and began playing professionally around New York as a teenager.  He credits jazz legend Gil Coggins, who sent him as a sub one night to a gig where there was a Hammond B-3, for setting him on the path to becoming a bona fide organist.  These days Lewis has so devoted himself to mastering the difficult instrument with such fervor that he considers himself to be an “organ monk.”

Working weekly for the past five years at the hip Brooklyn club Night Of The Cookers, with his regular trio featuring Ron Jackson on guitar, Lewis has honed his skills on the B 3 to become one of New York’s first call organists.  It was at the club that he first met drummer Cindy Blackman, who was so impressed with his playing that she sat in with the group and made arrangements to later perform with Lewis.  An unwavering fan of the Tony Williams Lifetime group, featuring Larry Young on organ, Blackman is the perfect complement for Lewis’, who names Young as his primary influence on the instrument (along with, of course, Jimmy Smith as well as Sly Stone).  Lewis cites Young’s landmark interpretation of “Monk’s Dream” from the classic Unity album as a further inspiration for his decision to devote this his first date to the music of Thelonious.

Although albums memorializing Monk’s music have become somewhat commonplace since the iconic pianist/composer’s death, Organ Monk is most likely the very first on which the date is led by an organist.   Lewis’ years of familiarizing himself with both his instrument’s expansive capabilities, as well as Monk’s sizable songbook, have led to this inevitable debut recording that breathes new life into the master’s repertory, while exploiting the Hammond B 3’s vast (and somewhat untapped) potential for creating new sounds.

Despite its classic organ-guitar-drum configuration, Lewis’ trio is far from typical in approach to making modern music. His arrangements of the fourteen Monk titles on the record are consciously contemporary in their originality, respecting the composer’s melodic, harmonic and rhythmic voice, while using the different elements of each piece to propel the group into its own unique nexus, one where the customary divisions between soloist and accompanist are blurred, or even erased.   Beginning with “Trinkle Tinkle”, one of Monk’s more intricate melodic lines, Lewis’ mastery of both the B 3’s dual keyboards and its too often neglected bass pedals is clearly evident, as is his fearless approach to arranging for the trio, with Blackman’s powerful drums doubling the intricate melody with him.

Lewis’ unaccompanied introduction to ”Jackie-ing”, slowing building around the chords of the playful Monk march before inviting drums and guitar to join him is an eloquent lesson in dynamic tension and release.  The trio trips around in space with Lewis’ organ at times reminiscent of Sun Ra before sliding smoothly into the infectious melody of “Criss Cross”, with Blackman’s drums offering a jagged contrast to the velvety tone of the B 3, before the trio settles into an earthy mood and then blasts back into the stratosphere to conclude astrally.  The band’s easy swinging reading of the beautiful “Light Blue”, featuring Jackson’s soulful guitar, is a ringing affirmation of the group’s ability to shine brightly in the classic organ trio tradition, as is their burning up tempo rendition of the not often heard “Played Twice” that features an exciting Lewis-Blackman dialogue.

The date’s other nine Monk pieces each offer a different perspective on the master’s work.  There’s the bouncing rhythm that jumps out of the long tones that set up “Boo Boo’s Birthday” and its fittingly funny quote by Lewis of the nursery rhyme “Mary Had A Little Lamb”, followed the lilting rhythms of the bebop masterpiece “Coming On The Hudson.”  Blackman’s energetic drumming on the fiercely burning “Four In One”, reminiscent of Art Blakey’s work with Monk, incites Lewis and Jackson to some of their best soloing of the date.  Lewis’ playing on “Locomotion” with his tonally expansive keyboard work, intelligent use of space and cleverly complementary bass line is nothing short of masterful.  On “We See” the trio once again swings mightily, with Lewis clearly demonstrating the influence of the great Jimmy Smith on his virtuosic playing.

“Monk’s Mood” is the date’s most beautiful ballad, with Lewis displaying the sensitive lyricism that has made him the favorite accompanist of so many of New York’s finest vocalists.  The trio shows off its intuitive split second timing in an edge of your seat dramatic reading of the marvelous melody of “Think Of One”, before digging down into their shared deep blues roots.  Lewis’ harmonic daring is clearly evident on his audacious arrangement of “Work.”  The final Monk piece of the date, “Introspection”, is a fitting example of the unmitigated joy the trio finds in coming together to make great music.

The date’s concluding coda is a Lewis original, “Kohl’s Here”, a fittingly Monkish melody dedicated to his teenage son that gives listeners a brief glimpse into the keyboardist’s own impressive abilities as a composer.  A talent that is sure to be seen in greater abundance on future releases from this extraordinary artist.

Night Of The Cookers Oct 8th, 15th, 22nd and 29th, 2010

10pm-1am | 767 Fulton St, Brooklyn 11217 (Btwn Greene Ave & S Oxford St)

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55 Bar Oct 9th & 23rd

10pm-130am
55 Christopher St.
New York, NY 10001

Bob Marley's Wailers Continue His Legacy With New Single To "Keep Them Belly Full"

On a trip to Colombia at the end of last year, legendary reggae group The Wailers gave out hundreds of pairs of shoes to under-privileged children from the money they had raised from foregoing their daily riders.  During their extensive travels that followed, they were often confronted with one of the worst plights, yet one of the easiest problems to solve – hunger.
The Wailers’ leader and musical director Aston “Familyman” Barrett decided to collaborate with the World Food program and the United Stations because he felt that he wanted to make a contribution to help put an end to hunger around the world.  The result of their efforts culminated in a new track called “A Step for Mankind,” which is their first studio song in 16 years.   The song was recorded specifically for Oniric Records’ compilation CD Solution for Dreamers: Season 3 and is available at iTunes with ALL proceeds from the song going towards the United Nations’ World Food Programme (WFP). The Wailers are now asking for your help.
“A Step for Mankind,” written by Wailers’ vocalist Duane Stephenson, is a call for world unity and strength to support the ongoing struggle against world hunger. The band is joined on the track by new lead singer Koolant, a fresh talent from the heart of St. Thomas known for blazing a positive future for reggae music with his work. The track also introduces Dr Dre protégé Bishop Lamont, an up-and-coming rapper, contributes an unforgettable flow in the track’s breakdown.  Graced by the Wailers’ undeniably distinctive groove., “A Step for Mankind” is a small taste of more music forthcoming from the Wailers, who recently entered the studio in Jamaica to begin work on an album of all-new material.
The World Food Programme is the world’s largest humanitarian organization fighting hunger worldwide. A United Nations institution, the WFP is committed to getting food where it is needed, saving the lives of victims of war, civil conflict and natural disasters. Each year, on average, WFP feeds more than 90 million people in 70 countries.
According to the World Food Programme website:
  • Every 6 seconds a child will die from hunger
  • Each day 25,000 people will die from a lack of food
  • 1.02 billion people will go to sleep hungry tonight, this is 15 percent of the estimated world population
For 25 cents you can help save a person’s life today by going to iTunes and purchasing The Wailers “A Step for Mankind” here.
And be sure to check out The Wailers new video here.

Singer-Songwriter Bobby Long Signs With ATO Records

British singer-songwriter-guitarist Bobby Long has signed a recording agreement with New York-based independent label ATO Records.  Long's debut is set for release on February 1, 2011. The album, entitled A WINTER TALE, is a collection of 11 original songs from a repertoire deeply rooted in American folk, blues and country music.  The recording is produced by Liam Watson, Grammy® winner for his engineering work on Elephant by The White Stripes, at his analog Toe Rag Studios in London.

Since he began performing in North America in April of 2009, Long has logged more than 150 shows (including sold-out appearances in major U.S. cities, Canada and Europe), winning over audiences with his gritty, passionate performances.  His haunting vocals, intricately woven lyrics and intriguing guitar work, not to mention his charming tall tales, have helped to cultivate a devoted fan base that has filled rooms night after night.  This year's tour schedule has also included several high-profile festival appearances, among them the Mile High Festival in Denver and the XPoNential Festival sponsored by Philadelphia's WXPN Radio, an early champion of Long's moving, personal songs.  As one critic wrote on blogcritics.com:   "With raw vocal power and smart, evocative lyrics, Long is a folksinger with a spirited intensity that puts him outside and above the masses of singer-songwriters roaming our cities, towns, and social networks."

Bobby Long's studio debut recording, entitled A WINTER TALE, is a collection of 11 original songs from a repertoire deeply rooted in American folk, blues and country music.  Long, who is an accomplished guitarist, is backed by an eclectic complement of studio musicians on slide guitar, stand-up bass, drums and keyboards.

The selection of songs on A WINTER TALE poignantly touch on a variety of themes, some of them dark, sung with Long's deep signature rasp.  His distinct finger-picking style on guitar is also prominently in evidence while he is backed by an eclectic complement of studio musicians on standup bass, pedal-steel guitar, vibraphones, drums, piano and keyboards.

Included on the CD are several songs that have become associated with him over the endless months of touring, among them the guitar-driven "The Bounty of Mary Jane," the haunting imagery of "Being a Mockingbird,"  the anthemic "Dead and Done" ("I've already had the neighbors here, Johnny Cash came 'round and we split a beer" ") and the defiant "Penance Fire Blues" contrasted with the spare, plaintive "Who Have You Been Loving," which was embraced in its simplest acoustic form-lifted from the homemade self-released recording, DIRTY POND SONGS, that was only available at his shows.

Other songs on the record include "In the Frost," which paints word pictures of scenes from Long's native England, and "A Passing Tale" and "Sick Man Blues," which are throwbacks to the traditional folk era of the 1960's. "A Stranger Song," the closer, brings to mind the wordplay of one of Long's major influences: Leonard Cohen. "Two Years Old," a finely crafted story song about the ravages of war, conjures images reminiscent of the battle scenes in the film Atonement, and the title cut, "A Winter Tale," is a driving, memorable opus that demands repeat plays.

Long, who moved to London from Wiltshire in the southwest of England to attend college, became part of the burgeoning open mic circuit to expose his music.  He met actor and fellow musician Robert Pattinson, who would go on to sing "Let Me Sign" (co-written by Long and friend Marcus Foster) over a crucial dramatic scene in the blockbuster film Twilight.  The inclusion of the song in the film's soundtrack gave Long a head start on a legion of fans.  Although A WINTER TALE is the 24-year-old's first foray into the formal recording process, "Left to Lie," his first single from the DIRTY POND SONGS collection, reached #1 on the iTunes "Unsigned" chart and #8 on the Folk chart.  Pollstar wrote: "Long's emergence as an up-and-coming artist is the stuff Hollywood loves to make movies about.  He continues to amaze audiences with a bare-bones sound reminiscent of early Bob Dylan."

Long is currently on a short string of dates in Europe before hitting the road in the U.S. in earnest with his band this fall.  A limited edition 10" vinyl EP containing songs from forthcoming record (including two bonus tracks) will become available at that time to build further anticipation for the release of the album and to coincide with his fall tour schedule.

The following fall dates are in support of Michael Franti:

October 18-Buster's, Lexington, KY; 19-Newport Music Hall, Columbus, Ohio; 20-Bluebird Nightclub, Bloomington, IN; 22-Madison Theatre, Covington, KY; 23-Carnegie Music Hall of Homestead, Pittsburgh; 24-The Town Ballroom, Buffalo, NY; 25-Northern Lights, Albany, NY; 28-Terminal 5, New York City; 29-Wellmont Theatre, Montclair, NJ; 30-Electric Factory, Philadelphia.

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November 1 & 2-Calvin Theatre, Northampton, MA; 3-State Theatre, Ithaca, NY; 5-Lupo's Heartbreak Hotel, Providence, RI; 6-State Theatre, Portland, ME; 7-Capitol Center, Concord, NH; 9-Toad's Place, New Haven, CT; 10-Metropolis, Montreal, Quebec; 12--Kool Haus, Toronto, ON; 13-House Of Blues, Cleveland, OH; and14-Crofoot Ballroom, Pontiac, MI.  Additional tour dates will be added shortly.

All-Stars Unite on Jerry Jams for Rex

August 9, 2010 marks the 15-year anniversary of legendary musician and Grateful Dead co-founder Jerry Garcia’s death. As a way to honor his musical and community legacy, the gifted musicians on this compilation have generously contributed stirring live performances of Jerry Garcia songs to benefit the Rex Foundation. Available August 10 in a variety of formats (see below), Jerry Jams for Rex was brought to life by Brad Serling of nugs.net and includes four exclusive previously unreleased live Garcia songs from Phish, Bruce Hornsby & The Noisemakers, The String Cheese Incident, and Keller & The Keels. Other artists featured on the album include The Black Crowes, Yonder Mountain String Band and more. All proceeds are a contribution to the Rex Foundation.

Furthering what Jerry Garcia and the Grateful Dead started 26 years ago, the Rex Foundation, a non-profit charitable organization, endeavors to fund grassroots programs that are often under the radar of larger funding entities, yet work in bold, innovative ways to carry out essential work toward a healthy environment, promotion of the arts, protection of indigenous cultures, assisting others less fortunate, building strong communities, and educating children and adults. The Rex Foundation has distributed $8.6 million in grants to over 1,000 programs across the U.S. and internationally, while also carrying out fundraising initiatives that foster creativity and positive community connections. Visit www.rexfoundation.org for a complete list of grantees and information about current initiatives.

Jerry Jams for Rex is possible because of the honorable contributions of music, resources and know-how of the participating artists and people involved in the initiative. The Rex Foundation extends its heartfelt thanks and appreciation for the generosity of spirit and action of all the people involved in creating Jerry Jams for Rex, as well as to all the people who purchase the compilation. Together, we honor Jerry Garcia and demonstrate the positive power of music and community spirit.

TRACK LIST

1. Bruce Hornsby & The Noisemakers - Lady With A Fan
(7/25/2009 - The Biltmore, Asheville, NC) *

2. The String Cheese Incident - Eyes of the World
(8/1/2001 - Greek Theatre, Los Angeles, CA) *

3. Railroad Earth - Mississippi Half-Step Uptown Toodeloo
(7/29/2006 - Stone Pony, Asbury Park, NJ)

4. The Black Crowes - Sugaree
(8/1/2006 LC Pavilion, Columbus, OH)

5. Moonalice - Goin' Down The Road Feeling Bad
(7/22/2010 - The Silvermoon Brewery, Bend, OR) **

6. Yonder Mountain String Band - Reuben And Cherise
(12/31/2009 - Fillmore Auditorium, Denver, CO)

7. The Waybacks - Dupree's Diamond Blues
(4/26/2007 - Watson Stage, MerleFest, NC)

8. Widespread Panic - Cream Puff War
(7/26/2010 Tennessee Theatre, Knoxville, TN)

9. Keller & The Keels - Mountains of the Moon
(6/17/2010 - Telluride Bluegrass Festival, Telluride, CO) *

10. Hot Buttered Rum - Cumberland Blues
(3/21/2009 - Crocodile Cafe, Seattle, WA) **

11. Steve Kimock Crazy Engine - Stella Blue
(7/25/2009 - Regency Ballroom, San Francisco, CA) **

12. Phish - Terrapin Station
(8/9/1998 - Virginia Beach Amphitheatre, Virginia Beach, VA) *

John Coltrane, Thelonious Monk and Sonny Roillins get 'Definitive'

Following up on the success of The Definitive Vince Guaraldi, Concord Music Group  has assembled three new titles in the Definitive series showcasing some of the most influential figures in modern jazz. The Definitive John Coltrane on Prestige and Riverside; The Definitive Thelonious Monk on Prestige and Riverside;The Definitive Sonny Rollins on Prestige, Riverside and Contemporary not only put the spotlight on the monumental work of three individual jazz players of the 1950s, but also provide an overview of the hard-bop period, one of the most significant chapters in the evolution of jazz. Each of the 2-CD collections is set for release on August 24, 2010.

The Definitive John Coltrane on Prestige and Riverside tracks Coltrane’s artistic development from his first Prestige recording session in November 1955 for Miles: The New Miles Davis Quintet to his last sessions for Prestige (for Bahia) in December 1958.

Trane’s career was marked by various shifts in style throughout the ’50s and ’60s, “but if you like straight-ahead, yet inventive, hard-bop playing, then this collection of recordings from the mid- to late ’50s is definitely one of the sweet spots,” says Nick Phillips, Concord Music Group’s Vice President of Jazz and Catalog A&R and the producer of the Definitive series. “And yet some of what you hear in these tracks gives hints about what was to come from this restlessly creative artist.”

Extensive liner notes by veteran music journalist and Coltrane biographer Ashley Kahn provide an in-depth look at the tracks and the circumstances surrounding their genesis. “The Definitive John Coltrane offers a best-of culled from these early recordings,” says Kahn, “offering an inspiring listening session that allows for much to be gleaned: Coltrane’s talent at recasting decades-old themes with a modern touch; a penchant for brooding, minor-key melodies; the uncanny rate of his personal development — building on his strengths, articulating a signature sound; an increased ability born in the one-take fire of three-hour recording dates to toss together timeless performances.”

The Definitive Thelonious Monk on Prestige and Riverside covers an even broader span of the ’50s, beginning with trio sessions in New York featuring bassist Gary Mapp and drummer Art Blakey in October 1952 and stretching to sextet dates in San Francisco with trumpeter Joe Gordon, tenor saxophonists Harold Land and Charlie Rouse, bassist John Ore and drummer Billy Higgins in April 1960.

“This is some of the most amazing Thelonious Monk on record,” says Phillips. “Whether he’s playing a standard or one of his own compositions, he sounds uniquely like Thelonious Monk and nobody else. All of the tunes in this collection that Monk wrote have become jazz standards. Conversely, he plays standard tunes like ‘Caravan’ and ‘Tea for Two’ with such distinctive genius that you’d swear he had written them himself.”

But Monk was no overnight sensation. He made “a long, slow climb from underground to mainstream adulation, and the ten-year period represented by this collection captures that ascent,” says Kahn in his liner notes. “The one constant — creatively, promotionally, and economically — was his recordings. First for Prestige Records from 1952 to ’54, then for the Riverside label from ’55 to ’61, Monk was afforded the chance to create new music and work with a number of significant jazz peers in a number of contexts — from solo piano, to trios, to quartets, even a big band . . . Most importantly, what Monk composed and recorded during the ’50s amount to the definitive versions of some of the most enduring, joyous melodies in modern jazz.”

The Definitive Sonny Rollins on Prestige, Riverside and Contemporary comes out a few weeks ahead of Rollins’ 80th birthday on September 7. Like the Thelonious Monk release, the Sonny Rollins set also covers almost an entire decade, from a December 1951 session in New York for Sonny Rollins with the Modern Jazz Quartet to an October 1958 session in Los Angeles for Sonny Rollins and the Contemporary Leaders.

“That was such a significant period in the development of jazz in general, and Sonny Rollins was at the heart of all that was going on during that decade,” says Phillips. “Just look at the Miles Davis session where he recorded ‘Airegin,’ ‘Doxy’ and ‘Oleo,’ for example. Those are all tunes that he penned, and all remain indelible jazz standards. That’s a whole lot of jazz history that was made on just a single day in the summer of 1954.”

Liner notes for The Definitive Sonny Rollins are provided by music journalist Bob Blumenthal, co-author with photographer John Abbott of the forthcoming book, Saxophone Colossus: A Portrait of Sonny Rollins.

“That the marks of [Rollins’] genius were fully apparent in the music he made over a half-century ago has been obvious to all who have followed the trajectory of his unprecedented career,” says Blumenthal. “As a contract artist with Prestige Records between 1951 and 1956, and through his work on various labels from 1957 until the beginning of an extended sabbatical two years later, Rollins laid the foundation for his status as a master improviser, saxophonist and composer; an influence far beyond his chosen instrument and idiom; and a living icon of affirmative creativity. Concord Music Group is the steward of many of the finest Rollins performances of the ’50s, and has culled them well in presenting this short course in what made Sonny Rollins Sonny Rollins.” released in October 2009.