bird

Little Bird From Kasey Chambers Out Today!

Sugar Hill Records is excited to announce the release of Little Bird from one of Australia’s most accomplished singer-songwriters, Kasey Chambers.  The 14 song collection – her first solo project in four years - is the result of an outpouring of new material from Kasey written within a hectic two week period in February of 2010, and Chambers is confident in calling Little Bird the best recording of her career.

Recorded a month later in brother Nash’s Foggy Mountain Studio Little Bird features an all-star band that Kasey dubs The Millionaires; John Watson on drums, Jeff McCormack on bass, Shane Nicholson, Jim Mogine (Midnight Oil) and Kasey’s dad Bill Chambers playing all manner of guitars and stringed instruments.  Guest vocalists Missy Higgins, Camille Te Nahu, Patty Griffin and more accompany Kasey on various tracks.

“These guys are some of my favorite musicians and singers, including the backbone of my touring band, so there is a familiarity and intuitive understanding of where this music should go,” says Kasey. Nothing in the recording process sounds forced or labored; every track sounds fresh, positive, exciting. "When the songs are that fresh, there’s something magical about taking them into the studio and bringing them to life, right then and there."

The new album, which is already certified Gold in Australia, represents a diverse spread of musical styles from Kasey’s glittering career, which has reaped multiple ARIA and APRA awards, Number One hits and multi-platinum sales in Australia and around the world.

Despite the upbeat and optimistic vibe of Little Bird, Kasey notes that it also reflects on a young woman’s insecurities.  “I started remembering how I felt when I wrote “Not Pretty Enough” and comparing it to how I feel now. I was wondering how that sentiment would come out if I revisited it,” says Kasey. “I still have moments like that, of feeling insecure and unsure, but I feel differently about that now. I feel stronger and more powerful, not willing to compromise so much.  This record is like the strong, secure version of ‘Not Pretty Enough’.”

Kasey excitedly rates Little Bird as the best recording of her career. “I don’t think I’ve ever been so excited by a bunch of songs. They all came out completely differently. I was back in that same frame of mind that I had for the early albums. And it made me feel so confident. I was so absolutely in love with all these songs, I could not wait to make them come to life.”

Paper Bird w/ Dovekins at the Boulder Theater

97.3 KBCO & Westword are proud to present Paper Bird with Dovekins at the Boulder Theater on Thursday, September 8th, 2011.  Tickets go on sale Friday, June 24th for $14 General Admission tickets.

Paper Bird’s backbone is their songwriting, musicianship and a general allergy to all limitations and trends. With seven members and no leader, this band is pulled in every direction imaginable, but thanks to their unique instrumentation they are able to merge their spontaneous creativity into one, solid sound.

The members of the band- Sarah Anderson, vocals and trumpet; sisters Esmé and Genny Patterson, vocals; Tyler Archuletta, trombone; Paul DeHaven, guitar; Caleb Summeril, banjo; Macon Terry, upright bass – bring a Folk, Americana sound that pays homage to the American Bandstand of the 1950’s, with a hint of Roaring 20’s flare. But don’t be thrown off by their old-timey sound, Paper Bird maintains the Indie rock image and resonance of the current age with a progressive and complex style that keeps them on the forefront of the music scene. The band’s inception came a few years ago in Breckenridge, Colorado where they met for the first time. The members were busking in the streets where they earned a couple hundred dollars, bought some beers and dinner and decided to form a band. Shortly after they went into the studio and recorded their first self-released album Anything Nameless and Joymaking (2007), which has been a top selling record in local retail stores since its release.

The seven-piece Americana Folk band is boasted by three female lead singers and backed by outstandingly talented musicians, continually capture the hearts of new and old listeners. They were recently featured on NPR’s All Things Considered due their rare and beautiful approach to music. They were voted in the Top 10 Best Underground Bands by Denver Post two years in a row. In the last year they have played Red Rocks Amphitheater to over 8000 people and have shared the stage with Devotchka, These United States, Grace Potter & the Nocturnals, Brett Dennen, and Big Head Todd & the Monsters. Their haunting and authentic sound is a refreshing and breath taking experience.

The female vocals create a soulful, dynamic harmony that accentuates each singer, while giving the illusion of a single voice. The trombone, banjo, and guitar elevate the music to a higher level while the skilled notes of the bass reflect the harmonies. Each style bounces off the other, while each note appreciates the other. They make audiences feel love, excitement, and passion. A show not to be missed, a band that must be heard: Paper Bird is one of a kind.

Also, appearing is Dovekins who is made up of six goonish characters that are fun-loving and appreciate a good time.  Their shows have a range of instruments including stand-up bass, accordion, clarinet, piano, mandolin, trombone, banjo, tuba, spoons and washboard.  A psychedelic hoe-down may ensue.

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Paper Bird w/ Dovekins

& Spirits Of The Red City and The Claptet

Boulder Theater

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Thursday, September 8th, 2011

Doors:  7:00 pm

Show Time:  7:30 pm

Sugar Hill Records To Release Little Bird From Kasey Chambers

Sugar Hill Records is excited to announce the July 12th release of Little Bird from one of Australia’s most accomplished singer-songwriters, Kasey Chambers.  The 14 song collection – her first solo project in four years - is the result of an outpouring of new material from Kasey written within a hectic two week period in February of 2010, and Chambers is confident in calling Little Bird the best recording of her career.

Recorded a month later in brother Nash’s Foggy Mountain Studio Little Bird features an all-star band that Kasey dubs The Millionaires; John Watson on drums, Jeff McCormack on bass, Shane Nicholson, Jim Mogine (Midnight Oil) and Kasey’s dad Bill Chambers playing all manner of guitars and stringed instruments.  Guest vocalists Missy Higgins, Camille Te Nahu, Patty Griffin and more accompany Kasey on various tracks.

“These guys are some of my favorite musicians and singers, including the backbone of my touring band, so there is a familiarity and intuitive understanding of where this music should go,” says Kasey. Nothing in the recording process sounds forced or labored; every track sounds fresh, positive, exciting. "When the songs are that fresh, there’s something magical about taking them into the studio and bringing them to life, right then and there."

The new album, which is already certified Gold in Australia, represents a diverse spread of musical styles from Kasey’s glittering career, which has reaped multiple ARIA and APRA awards, Number One hits and multi-platinum sales in Australia and around the world.

Despite the upbeat and optimistic vibe of Little Bird, Kasey notes that it also reflects on a young woman’s insecurities.  “I started remembering how I felt when I wrote “Not Pretty Enough” and comparing it to how I feel now. I was wondering how that sentiment would come out if I revisited it,” says Kasey. “I still have moments like that, of feeling insecure and unsure, but I feel differently about that now. I feel stronger and more powerful, not willing to compromise so much.  This record is like the strong, secure version of ‘Not Pretty Enough’.”

Kasey excitedly rates Little Bird as the best recording of her career. “I don’t think I’ve ever been so excited by a bunch of songs. They all came out completely differently. I was back in that same frame of mind that I had for the early albums. And it made me feel so confident. I was so absolutely in love with all these songs, I could not wait to make them come to life.”

Labor Records reissues Heiner Stadler’s album Tribute to Bird and Monk

A truly groundbreaking landmark recording, Tribute To Bird and Monk, was widely lauded when it was first released in 1978 – credited as one of the best and most unusual albums of that year by Neil Tesser in a Jazz Magazine article that noted the record’s “tough, bright, innovative resiliency” and earning the coveted five star (highest) rating in a Downbeat review by critic Jerry de Muth (who called the two LP set “a brilliant mixture of arranged and free jazz”) and garnering arranger-producer Heiner Stadler a place in the magazine’s Annual Critic’s Poll as a Talent Deserving Wider Recognition.  More than thirty years later, the album originally released on Tomato Records, is a coveted collectors item whose importance has only been compounded with time, while Stadler’s pioneering conception continues to be a talent very much deserving of wider recognition.  Now reissued as a compact disc on his own Labor Records imprint, it is likely that Stadler’s unique talent will again be heard as deserving increased attention and the music will once more be praised on a level comparable to when it first appeared. The considerable artistic success of Stadler’s pioneering project can be credited as much to his visionary assembling of a truly distinctive ensemble to perform his inventive orchestrations, described by de Muth as “far more than arrangements,” noting that “recompositions would be a better term.”

In selecting veteran cornetist Thad Jones, a Monk alumnus and one of the most renowned arrangers of his day, to be an important member of the band filled out by much younger musicians who were closely associated with more modernist, even avant garde aspects of the jazz genre, Stadler imbued the date with an intriguing traditionalist facet at atime when tradition and innovation were virtually at war.  Tenor saxophonist George Adams, most recognized for his work with Charles Mingus made him at home in both camps, but his fierce uninhibited sound was certainly heard as being outside the mainstream.  The youngest member of the group, trombonist George Lewis as a member of the Association for the Advancement of Creative Musicians was clearly recognized as a member of the avant garde.  Stadler’s choice of rhythm section mates could be considered most astute, with multitalented pianist Stanley Cowell as one of the few players of his instrument to find a place in the post Ornette realm of forward looking modernism. Virtuoso bassist Reggie Workman, a veteran of Coltrane’s innovative band and  then a member of Max Roach’s creative quartet was extending both the range and the role of the bass.  While Lenny White, known for his pioneering fusion work on Miles Davis’ Bitches Brew and Chick Corea’s Return To Forever, proved to be a propulsive force, capable of swinging with fiery power.  The addition of percussionist Warren Smith on tympani for a pair of tracks further contributes to the band’s uncommon sound.

In his introductory comments for the reissue Tribute To Bird and Monk (prefacing the late Robert Palmer’s original liner notes) Jazz Journalist Association President Howard Mandel observes,  “By casting a unique sextet of New York City’s best improvising instrumentalists to explore the potentialities and retain the essences of music by two great jazz modernists composer-producer Stadler proved prescient. In 2010 tribute projects proliferate, though few take the dramatic leaps to create new art from indestructible aspects of established creations that Stadler’s does.” With remixed sound by the brilliant engineer Malcolm Addey listeners can now appreciate more the nuances of Stadler’s polytonal arrangements and the soloists’ daring improvisations on the six tracks split evenly between Monk and Parker compositions.

As Palmer points out in his liner notes (now reprinted) Parker’s opening “Air Conditioning” begins, “deceptively as it turns out, with a unison theme statement in C.”  Deceptively, as it is, because Stadler’s “polytonal manipulations on the theme …especially evident in the horn backgrounds that frame the solos.”  Each of the sextet members improvise boldly with Jones kicking things off with one of the date’s most conventional statements, followed by Lewis who pushes things a bit further out, preceding Adams who gradually takes things into space, with the ensembles raucous backgrounds deftly referring to Parker’s melodic line.  Cowell’s outing is particularly adventurous, proving himself to be one of the very few keyboardists who wasable to interpolate the vocabulary of Cecil Taylor into the more traditional language of bebop.  Workman, whopowerfully pushes the unit throughout, acquits the bass as an instrument quite capable of holding its own in the spotlight, while White solos musically, hearkening to Max Roach’s work with Bird.

Drums dramatically open Monk’s “Ba-lue Bolivar Ba-lues-are,” followed by Workman’s vigorously bowed bass and the horn section’s statement of the theme, which begins ominously before morphing into a carnival-like mood reflecting the composer’s sly sense of humor. Cowell, the lone remaining soloist, improvises lengthily here – referencing Monk frequently, occasionally with verbatim phraseology -- as horns enter and exit at odd intervals chime in with backgrounds transcribed from Monk’s original piano solo with Cecil Bridgewater (subbing for the snowbound Jones) playing with free spirited assurance.  Palmer notes the performance seems to be a particularly radical recomposition with each phrase of the theme voiced polytonally and separated from the next by a free collective improvisation, with Stadler’s score warning “don’t improvise too long in order to avoid losing the continuity of the melody.”

Parker’s ” Au Privave” features the trombone of George Lewis whose years of experience playing numerous uptempo Bird songs with Anthony Braxton finds him well prepared for his exemplary work here.  Adams plays the opening theme over Workman’s bass walking (in a different key) joined shortly thereafter by the horns. Lewis improvises marvelously, following Stadler’s instructions to vary his tempo, playing either slightly faster or slower than half time, while the rhythm sections plays in the set tempo.  The result is in Palmer’s words “constantly shifting mosaic of tempos … and each tempo swings.”

Workman and White open up Monk’s “Straight No Chaser” before the horns begin playing fragments of the well known melody with the various separate components linked by collectively improvised horn ensembles. Jones solos first, playing with an inspired abandon Palmer described at the time of the original release as “his most exciting and creative recorded work in years.”  Cowell again proves himself to be one of the most creative soloists of his generation improvising in tandem with the primordial Workman in a manner recalling Monk, while White’s drums run the gamut from New Orleans to out(er space) in a rhythmic duel with the horns’ staccato background. Workman’s extended unaccompanied bass solo brings the horns back in and the bassist walks things to a close

“Misterioso,” the final Monk exploration again begins with a Lenny White solo, his drums here joined by Warren Smith’s tympani, as various members of the ensemble play fragments of the bluesy theme to frame their percussion discussion, with Cowell’s piano clearly drawing the line between Monk and Cecil Taylor.  Workman’s bass is in the spotlight again, displaying a vast sonic array with incredible pizzicato and arco sections that are sensitively backed by the rest of the band on a truly masterful interpretation of the Monk classic engendered by Stadler’s daring arrangement which concludes with a return to the percussion section’s buoying of the theme.

Parker’s “Perhaps” ends the date on one of its lighter notes, with brass playing the not so widely known Bird line to open things up for Adams’ breathy flute as the rhythm section swings over Workman’s fast walking bass, joined intermittedly by trumpet and trombone, breaking up thetempo before Adams lets loose on tenor playing with a full emotional range -- from terrifying to tender -- that leads to a final ensemble statement of the theme with an almost conventional tone that offers an unexpected final relief.

The durability of this music, as daringly modern todayas it was when it was made more than three decades ago, stands as a tribute not just to Charlie Parker and Thelonious Monk, but also to Heiner Stadler, whose sympathetic vision of the two great composer’s creativity has brought their sound into the future while paying homage to the tradition from where it sprang.  As Mandel notes, “Tribute is a fair indication of Stadler’s powers. In it, he demonstrates that Bird and Monk wrote immutably multi-faceted music from which inspired individuals can generate kaleidoscopic variations, and that their music has inspired him to stretch form in a manner indisputably wed to content. There is no higher tribute than an artist making something new and enduring out of sources he admires and acknowledges.” This is the splendor Heiner Stadler provides to us with his Tribute to Bird and Monk.”

Gent Jazz Festival 2011 line-up is complete

The line-up for the 10th edition of Gent Jazz Festival (July 7th – 17th, Bijloke) is complete, with bands such as Sonny Rollins, Daniel Lanois’ Black Dub feat. Trixie Whitley & Brian Blade, Return to Forever IV, Angus & Julia Stone, Absynthe Minded, Morcheeba, Al Di Meola World Sinfonia feat. Gonzalo Rubalcaba, Randy Brecker/Bill Evans Soulbop Band feat. Medeski, Martin & Wood, Michel Portal Quintet, Agnes Obel, Red Snapper, Dave Holland Quintet, Al Foster/George Mraz Quartet feat. Fred Hersch, Terence Blanchard Quintet and Nouvelle  Vague.

The following bands have already been announced: B.B. King, Gotan Project, Raphael Saadiq, Mavis Staples, Jef Neve Trio and Sing The Truth with Angelique Kidjo, Dianne Reeves & Lizz Wright.

The 10th edition of the Gent Jazz Festival will begin on Thursday July 7th with none other than Sonny Rollins as the Special Nights’ headliner. This jazz legend had been on the festival’s wish list for a very long time and the birthday edition is an excellent occasion. His concert is preceded by the Michel Portal Quintet. The Nathan Daems Quintet, opens the Special Night after having won Young Jazz Talent 2010, the youth contest held yearly on the festival’s fringes.

On Friday the 8th of July, Al Di Meola World Sinfonia, together with special guest Gonzalo Rubalcaba will perform, with Dave Holland Quintet and Al Foster/George Mraz Quartet feat. Fred Hersch. The day’s opener is a coaching project in co-operation with University College Conservatory Ghent called Quartet dal Cuore feat. Paolo Ghetti.

July 9th is the festival’s first Saturday and a Special Night as well. B.B. King, Mavis Staples and the trio of Steven De Bruyn, Tony Gyselinck & Roland will be present.

On Sunday July 10th, the festival’s first four days will be concluded by Return to Forever IV Hymn of the 7th Galaxy Tour (an excellent band with Chick Corea, Stanley Clarke, Lenny White, Jean-Luc Ponty and Frank Gambale). The Belgian Rêve D’ Éléphant Orchestra will open before Terence Blanchard Quintet and Randy Brecker/Bill Evans Soulbop Band with Medeski, Martin & Wood.

Thursday July 14th three jazz queens will line up with Sing The Truth: Angelique Kidjo, Dianne Reeves & Lizz Wright continue the legacies of Miriam Makeba, Abbey Lincoln and Odetta. Three current icons will pay tribute to the women of song from the last generation. They will be preceded by Jef Neve and his trio and Philip Catherine Plays Cole Porter.

Both revelations Agnes Obel and Agnus & Julia Stone are on stage Friday July 15th. This day will be supplemented by local band  Absynthe Minded. It’s a day dedicated to bands currently breaking through internationally and striving to meet high expectations in the future.

Gent Jazz Festival announces Gotan Project who are electro-tango masters and a retro-funk musician Raphael Saadiq on July 16th. Nouvelle Vague will be the first group to play on the initial day of the Gentse Feesten.

Daniel Lanois’ Black Dub feat. Trixie Whitley & Brian Blade will play on the closing day, July 17th. The festival organization looks forward to this concert after having cancelled Daniel Lanois’ Black Dub last year due to a motorcycle accident. But we are looking forward to vocalist Trixie Whitley as well. Last year her performance won hearts and minds with a special project. Later that day groups include: BackBack which is a local band, Red Snapper and Morcheeba with frontwoman Skye in the original line-up.

The music contest ‘Young Jazz Talent Ghent, an initiative in co-operation Duvel-Moortgat brewery will take place at the festival grounds’ entrance. Free entry every time right before the first concert on the main stage.

New!

Thanks to the co-operation with the city museums in Ghent it is now possible to get free access to one of the 9 museums in Ghent using your Gent Jazz Festival Ticket as an admission ticket. A nice extra for festival visitors. Up until the end of August visitors can be introduced free of charge to the permanent collections from De Wereld Van Kina, Design Museum, Huis Van Alijn, Kunsthal St.-Pietersabdij, MIAT, MSK Gent, Museum Dr. Guislain, SMAK and STAM.

The tickets will obviously remain valid as transportation ticket on De Lijn busses or trams. De Lijn will take you for free, safe and without parking concerns to Gent Jazz Festival and back!

The new online platform will become active on 30.03, the platform will inform festival enthusiasts thoroughly about the festival and about other information such as website, facebook, blog… In the coming weeks the website will be expanded with an archive containing past editions, blog messages, actions and cool extras. Moreover, written and photo reports will be published on this platform during the festival.

Info: www.gentjazz.com. Tickets: gentjazz.com or Fnac. Day Ticket early bird rate: 35 Euro – Special Night early bird rate: 42 Euro – July 15th: 25 Euro. Festival pass early bird rate: 212 Euro (limited number, early bird action up until April 30th). 3day pass early bird rate: 79 Euro (early bird action up until April 30th). The sales channels will add a 3 Euro reservation cost per ticket or pass. The prices for buying tickets on the spot is presale rate + 7 Euro.

Jam In the Dam 2012 Festival Announced

All Good and Vision International present the return of Jam in the Dam: a multi-day, multi-room extravaganza held at the legendary Melkweg in Amsterdam, The Netherlands on March 14, 15 and 16, 2012.

Celebrating music in an intimate atmosphere, the sixth edition of Jam in the Dam features the music of moe., Mike Gordon (of Phish), Dark Star Orchestra (continuing the Grateful Dead concert experience) , Lotus and Keller Williams. Each artist will play extended sets all three nights in one of the two concert halls, all under one roof.  With this conjunction of musical stars, mind-blowing collaborations are just the beginning.

The music runs from 8:00 pm to 2:30 am.  This schedule allows fans to enjoy the wonders of Amsterdam by day and rock out by night. The city's rich cultural offerings include famous museums and art galleries such as the Van Gogh and Rijksmuseum; cozy pubs and café terraces; open-air markets and trendy boutiques; and of course the legendary coffee shops. This unique opportunity to combine the exploration of a world-class European city with the expansion of musical horizons is what makes Jam in the Dam an experience not to be missed.

Tickets are available starting March 24 at http://jaminthedam.missiontix.com at $225 Early Bird pricing, saving $60 off of the gate. In Europe, tickets will go on sale soon at http://www.ticketmaster.nl, and will be priced at 170 Euro for Early Bird.  Single night tickets are available in Europe for 60 Euro.

Travel packages including special perks will be available from CID Entertainment, including options for installment payments. Complete Jam in the Dam festival information and travel support is available online:

http://www.JamInTheDam.com - Official Website
http://www.facebook.com/JamInTheDam - Official Facebook Page

Steep Canyon Rangers Join Steve Martin on New Album

The Steep Canyon Rangers (SCR), have joined iconic comedian, Steve Martin on his sophomore album entitled Rare Bird Alert to be released TODAY, March 15, 2011. Bringing bluegrass music to new audiences, SCR continue their meteoric rise as passionate ambassadors for the bluegrass music they love. With Martin, SCR played for more people than any other bluegrass band in 2010.  This year will be even bigger, as the group prepares a nationwide tour with Martin to support their collaborative project.  The Rare Bird Tour will kick off in New York City with three sold-out performances at the famed Joe’s Pub March 15-17 as well as a return appearances to the Late Show with David Letterman on March 16 and The View on March 17.

When Martin, an accomplished banjo player and songwriter, handpicked SCR to tour and record with him last year, they jumped at the chance.  “Serendipity has made a better match than any bluegrass computer dating service,” jokes Martin. With Rare Bird Alert, Martin and Steep Canyon Rangers have created an album filled with the traditional bluegrass sound, bursting at the seams with banjo, fiddle and lyrics that are both fun and reflective.

The title track “Rare Bird Alert” perfectly scores the lonely ache and melancholy of bird watching. Paul McCartney guests on “Best Love” a foot-stomper about love and the little things.  On “Go Away, Stop, Turn Around, Come Back” SCR’s lead singer, Woody Platt, tells the story of love, breakup and reunion while “Jubilation Day” bounces with the delight and renewed vigor that can come from a breakup. The Dixie Chicks lend their considerable talent to “You” the saddest un-sad song about a past love with no regret. The closing tracks on the record showcase Martin’s comedy roots.  On “Atheists Don’t Have No Songs” Martin and SCR create a gospel song for those without one while “King Tut” allows Steep Canyon Rangers to put their bluegrass-spin on an old Martin favorite.

After a year jam-packed with tour dates, including Carnegie Hall, and headlining festivals such as Bonnaroo, Merlefest, New Orleans Jazzfest, Newport Folk Festival, Martin helped SCR introduce bluegrass to millions of who may have been hearing it for the first time and SCR show no sign of stopping. For more information, please visit www.steepcanyon.com.

Amy Speace's new CD 'Land Like a Bird' announced

Amy Speace wrote her new album, Land Like a Bird, with her life in a state of transition. Having spent many years in Manhattan, Brooklyn and New Jersey, surrounded by concrete, taxi horns and rushing trains, Speace suddenly found herself in the South. She’d done quite well as a New Yorker: she was signed by Judy Collins — who called Speace “one of the best young songwriters” — to Wildflower Records; she was awarded an NPR “Song of the Day”; and she toured with Collins, Nanci Griffith and Shawn Colvin. The city’s WFUV-FM named her song “Weight of the World” the #4 Folk Song of the Decade in its 2010 year-end Top 10 list.

“But life takes its twists and turns and as much as I loved Manhattan, I felt the ending of one chapter and the beginning of another. Relief and anticipation went hand in hand with the grieving,” she says of the change.

Space began writing Land Like a Bird as she bade farewell her Jersey City apartment with the view of the Statute of Liberty and lower Manhattan (inspiration for the song “Manila Street”). Many of the songs were goodbyes to people and places (“Had to Lose,” “Ghost,” Ron Sexsmith’s beautiful “Galbraith Street”). She brought these songs and unpacked them in her new East Nashville home.

Land Like a Bird follows Speace’s 2006 Songs for Bright Street on Collins’ Wildflower Records and 2009’s The Killer in Me. The latter, her “breakup album” which featured guest vocals by Ian Hunter, earned much critical praise. “Amy Speace is a rising star,” opined USA Today. NPR said, “Her velvety, achy voice recalls an early Lucinda Williams. Sounding grounded but wounded, Speace exudes the vulnerability of someone who’s loved and lost.” The Washington Post advised, “If you bemoan the lack of solid singer-songwriters in the world who can bridge inner turmoil with universal experience, Speace is just what you need to hear.”

The new album was produced by Neilson Hubbard (Kim Richey, Matthew Ryan, Glen Phillips, Garrison Starr) at Mr. Lemons studio in Nashville. Hubbard played bass, keyboards and vibes. Speace and Hubbard first met seven years ago while performing on an Arizona TV show and discovered their simpatico musical directions. However, they did not remain in touch. When Speace moved to Nashville last year, they were reintroduced, immediately co-wrote a song, and decided to collaborate on what would become Land Like a Bird. Kim Richey sang background vocals on “Land Like A Bird,” “Half Asleep & Wide Awake” and “Real Love Song.”

“As the fall became winter and the winter became spring, Neilson Hubbard and I would meet and write or record and snippets became songs became demos became a sound we both were chasing,” Speace says of the making of the album. “And by early fall 2010 we were inside the record we both knew we wanted to make together, a full turn of the seasons from my arrival.”

In other news, Speace will be seen on the forthcoming Big Star documentary Nothing Can Hurt Me: The Big Star Story http://vimeo.com/11881695 which includes her performance of “Try Again” with the surviving Big Star members, the Posies and Evan Dando at the Alex Chilton tribute at SXSW in March 2010. Speace and charter Big Star member Jody Stephens had met at the Folk Alliance a few years back in the band’s home of Memphis. Speace was a huge fan of Big Star and was pleasantly surprised that Stephens, in turn, as a fan of hers.

CHARLIE MARS - AUSTIN CITY LIMITS MUSIC FESTIVAL - 10/8/10

Acclaimed singer/songwriter Charlie Mars will be performing at the Austin City Limits Music Festival on Friday, October 8th @ 12:20 PM.  Charlie has been on tour in support of his current CD, "Like A Bird, Like A Plane."

While in town for the festival, he’ll be doing a short live set for KGSR on Thursday, October 7th at Threadgills.  The station will be doing a live broadcast from the venue at 8:30am.  Then he'll perform at the Austin Ventures Stage at ACL on Friday, October 8th at 12:20pm, followed by a Waterloo Records signing.  Charlie will then be doing a solo show from 3:15pm to 3:30pm on the Austin Kiddie Limits Stage. And on Saturday, October 9th, he'll  top it off with a show at Threadgills at 10pm.

Mars is known for his compelling live performances.  “When he’s onstage, songs with deep grooves get some breathing room, and his lush choruses inevitably lead to raucous audience sing-alongs,” said Esquire.

Mars recorded the album in Austin with drummer J.J. Johnson (John Mayer), keyboardist John Ginty (Citizen Cope) and bass players George Reiff (Jakob Dylan) and Dave Monzie (Fiona Apple). The video for lead single “Listen to the Darkside” (a nod to Pink Floyd) featured “Weeds” star Mary Louise Parker and was directed by Danny Clinch.

"Like A Bird, Like A Plane," was praised by The Washington Post for its "lush musical vignettes" while Jambase called it "a fine addition to the canon of one of the South's most under appreciated songwriters." "Charlie's sultry alternative-southern-soul mastery sounds like what the lead singers for Coldplay or The Verve might sound like if they grew up in the south listening to REM and Nick Drake," said Jackson Free Press and the Pittsburgh Tribune called the album "mesmerizing."  "Mars combines the lyrical, melodic, and rhythmic gifts of Paul Simon with the dark, rootsy quality of Bruce Springsteen," said Berkshire Living.

Born in Arkansas and raised in Mississippi, Mars released three independent albums before signing with V2. His self-titled, 2004 major label debut was hailed by Rolling Stone as "Big emotional rock from Mississippi with a knack for hooks, and the hooks here have real barbs: They tug at you and just might draw some blood." High profile tours with artists such as R.E.M., KT Tunstall, Citizen Cope, John Butler Trio and Bob Schneider followed. When V2 folded, Mars returned to his independent roots, financing "Like A Bird, Like A Plane" himself, and releasing it on Rockingham Records in conjunction with the Nashville-based Thirty Tigers.

ERNESTO CERVINI QT Tonight At Cornelia Street Café

The Ernesto Cervini Quartet celebrates the release of their new album, “Little Black Bird.” The music from the album was written by Ernesto Cervini in response to day to day life split between Toronto and New York City, and the pieces were composed to compliment the incredible skill and sensitivity of the musicians in the band. Joining Ernesto on stage will be the incomparable Joel Frahm on saxophones, as well as long-time collaborators Dan Tepfer on piano and Dan Loomis on bass. Many of the pieces from "Little Black Bird" are written for people, or situations that have inspired Ernesto, including “Nonna Rosa”, written for his grandmother and the title track “Little Black Bird” which was inspired by the verbose birds of Mexico. The album is being released on Orange Grove Records and distributed by ANZIC Records. Drummer Ernesto Cervini plays with such conviction and fire that it's easy to give him your ears and time.

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Tue  May 25th 8:30PM | Ernesto Cervini Quartet

CORNELIA STREET CAFÉ
29 Cornelia Street, NYC, New York    212-989-9319
between West 4th and Bleecker Sts, Greenwich Village